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FURNITURE  AND  INTERIOR  DECORATION 
OF  THE  ITALIAN  RENAISSANCE 


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I | FURNITURE  AND  | 

| | INTERIOR  DECORATION  | 

| f OF  THE  f 

1 | ITALIAN  RENAISSANCE  | 

(1  by  1 

1 1 FRIDA  SCHOTTMULLER 


WITH  590  ILLUSTRATIONS 


NEW  YORK 
BRENTANO’S 
MCMXX1 


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PRINTED  IN  GERMANY 


Giuliano  da  Sangallo:  Sandstone  Relief  from  a Fireplace 

Formerly  in  the  Collection  of  A.  von  Beckerath,  Berlin 


FOREWORD 


The  object  of  this  work  is  to  illustrate  the  culture  of  the  home  in  the  time  of  the  Italian  Renais- 
sance, the  decoration  of  the  rooms  and  the  nature  of  the  single  objects  of  furniture.  The 
former  is  made  clear  through  the  paintings  of  the  epoch,  the  rooms  being  reconstructed  through 
their  help,  the  latter  by  single  pieces  of  furniture  and  sculpture.  The  special  forms  of  the  house- 
hold furniture  in  the  different  Italian  regions  have  been  treated  exhaustively  in  a small  compre- 
hensive work  by  W.  von  Bode,  often  cited  here;  for  this  reason  the  types  here  have  only  been 
considered  from  the  point  of  view  of  their  form-developments,  local  peculiarites  being  only  inciden- 
tally taken  into  account.  To  complete  the  picture  a few  examples  of  bronze  objects,  cushions,  stuffs 
have  been  added  and,  for  the  purpose  of  comparison,  also  a few  kitchen  utensils  and  works  of  an 
earlier  and  later  date.  The  XVIIth  century  is  relatively  richly  represented,  but  in  the  main  by  such 
works  as  preserve  the  traditions  of  the  High  Renaissance. 

It  was  not  possible  for  me  to  examine  personally  all  the  objects  here  illustrated  as  to  their  age 
and  state  of  preservation.  Some  of  them  may  be  of  earlier  form  and  later  build,  some  of  them 
even  composite  pieces  of  furniture.  The  Directors  of  various  museums,  private  collectors  and  spec- 
ialists have  helped  me  in  my  work  by  information,  photographs,  or  by  permitting  me  to  have  them 
made,  especially  the  following:  Excellency  von  Bode,  Dr.  von  Falke,  and  Dr.  Jessen,  Berlin,  Dr.  Back, 
Darmstadt,  Dr.  Figdor,  Vienna,  Dr.  Graul,  Leipzig,  Prof.  Dr.  O.  Lanz,  Amsterdam,  Dr.  Maclagan,  London, 
Dr.  Malaguzzi  Valeri,  Bologna,  Dr.  Robert  Schmidt,  Frankfort  on  the  Maine,  Professor  Dr.  Schubring, 
Hanover,  Dr.  Silten  and  Dr.  E.  Simon,  Sale-house  R.  Lepke,  all  of  Berlin,  Mr  Stefano  Bardini,  Mr 
Elia  Volpi  and  Mr  Luigi  Grassi  of  Florence,  Mr  L.  Bernheimer,  Mr  Julius  Bohler  and  Mr  A.  S.  Drey, 
Munich.  I offer  them  all  my  sincerest  thanks. 


FRIDA  SCHOTTMULLER 


1.  Umbrian,  End  of  15th  Century:  Mantelpiece  Frieze 


Gubbio,  Palazzo  Ducale 


CULTURE  OF  THE  HOME  AND  THE  FURNITURE 
OF  THE  ITALIAN  RENAISSANCE 


k 


I.  THE  HOME  AND  ITS  FURNISHINGS 


During  the  Middle  Ages  the  adornment  of  the 
Church  was  the  chief  object  of  the  fine  and 
applied  arts.  In  the  House  of  God  Romanesque 
and  Gothic  art  found  manifold  means  of  expression. 
Profane  buildings  only  came  in  the  second  line;  for 
this  special  purpose  those  forms  developed  in  church 
ornamentation  and  church  furniture  were  resorted  to  and 
even  in  royal  palaces  many  things  were  wanting,  which  to- 
day are  an  everyday  necessity  in  the  homes  even  of  simple 
citizens.  Only  towards  the  end  of  this  first  great  epoch  of 
Christian  Culture  was  a change  noticeable,  the  precursor  of 
a new  great  period,  namely  the  Renaissance.  This  Jacob 
Burckhardt  called  the  “re-discovery  of  the  world  and 
mankind”.  Man  had  ceased  to  consider  life  here  below 
as  a preparation  for  eternity;  he  had  discovered  the 
beauty  and  greatness  of  the  earthly  world  and  strove 
for  possession;  spiritually  through  learning,  materially 
through  pleasure.  It  was  no  mere  chance  that  the  churches 
of  the  middle  ages  towered  high  above  the  surrounding 
dwelling-houses,  while  the  churches  of  the  Italian  Re- 
naissance are  often  lower  than  the  palaces  of  the  same 
period.  The  conception  of  life  had  changed;  man,  espe- 
cially the  Italian,  had  become  more  conscious  of  his 
own  dignity  and  importance,  and  this  new  vitality  aroused 
quite  other  demands  respecting  the  conduct  of  life,  com- 
fort and  outward  splendour  in  his  own  home  playing  no 
mean  part  in  them. 

In  Italy  external  circumstances  also  furthered  this  move- 
ment: Till  late  in  the  XIV11'  century,  the  large  Italian 
cities,  especially  Rome  and  Florence,  were  scenes  of 


frequent  civil  broils,  the  civic  halls  and  palaces  of  the 
nobles  being  so  built  as  to  serve  as  strongholds,  their 
chiefest  task  being  to  bid  defiance  to  the  enemy.  Their 
characteristics  are  thick  walls  of  rough  hewn  stone 
blocks,  heavy  iron  clad  doors  and  small  grated  windows 
set  high  up  from  the  ground  ‘),  steep  and  narrow  winding 
staircases.  The  living  rooms,  always  in  the  upper  stories, 
were  lofty  and  spacious,  but  furnished  only  with  the 
most  indispensable  objects  and  little  protected  against 
heat  or  cold.  Such  were  the  homes  of  the  nobility; 
those  of  ordinary  people  were  smaller  and  lower  and 
extremely  homely  in  equipment. 

In  the  XVth  century  civil  disturbances  gradually  grew 
less  frequent  and,  in  consequence  of  the  consolidation 
of  power,  they  were  easily  suppressed.  There  were 
often  entire  decades  of  internal  peace.  The  growing 
power  of  single  cities  and  single  families  was  favorable 
to  commerce  as  also  to  the  development  of  the  crafts; 
a general  well-being  was  everywhere  perceptible.  In  the 
same  way  as  this  happy  state  of  things  made  possible 
a spiritual  rebirth,  it  likewise  favoured  the  tendency 
towards  an  ever-growing  pretensiousness  in  daily  life. 
Instead  of  being  satisfied  with  the  bare  necessities  for 
existence,  ever-increasing  sections  of  the  people  now  found 

')  The  Palazzo  Davanzati  in  Florence  (figs.  47 — 60)  is  the 
best  example  of  such  a palace  stronghold.  Among  the  prince- 
ly mansions  built  in  this  style,  that  of  the  d’Este  in  Ferrara 
is  the  best  preserved  outwardly.  The  more  recent  Castello 
Sforzesco  in  Milan,  though  built  in  the  Renaissance  style,  is 
surrounded  by  walls  and  moats  like  a fortress. 


VII 


themselves  in  a position  to  aspire  after  the  beauty  in 
life.  Luxury,  which  was  only  known  among  the  wealthy 
classes  of  the  late  middle  ages  as  far  as  clothing  was 
concerned,  since  the  end  of  the  XVth  century  had  be- 
come a matter  of  course  also  in  their  homes  and  their 
manner  of  living.  Wealth  was  no  longer  the  attribute 
of  the  old  nobility  , but  was  shared  by  many  burghers 
who  had  grown  great  through  their  own  ability  both  in 
commerce  and  politics,  such  as  the  Medici  in  Florence, 
and  the  Chigi  in  Siena;  and  in  the  course  of  time  it  be- 
came a custom  with  the  Popes  to  endow  their  families 
with  earthly  wealth. 

Thus  the  number  of  those  continually  grew  who,  being 
above  the  multitude  be- 
cause of  their  own  per- 
sonal aspirations  after 
the  good  in  life,  could 
further  culture  and  civ- 
ilisation. 

Even  the  exteriors  of 
the  palaces  revealed  the 
wealth  and  artistic  taste 
of  their  owners  both 
with  regard  to  size  and 
beauty ').  The  rough- 
hewn  rustic  stones  were 
no  longer  set  one  on 
the  other  in  order  to 
give  the  effect  of  a 
fortress,  but  separated 
by  grooves,  or  used  for 
thebasementstory.  More 
frequently  rough-cast  materials  of  an  inferior  sort  were 
employed.  Only  in  the  north  of  Italy  and  the  eastern 
part  of  central  Italy  a peculiar  sort  of  red  brick  archi- 
tecture gradually  developed. 

The  several  stories  were  divided  off  from  one  another 
by  friezes  and  cornices  in  imitation  of  the  antique,  which 
formed  an  effective  summit  of  the  building.  Just  as  the 
steep  gable  everywhere  obtained  in  the  fagades  of  the 
northern  houses  till  the  baroque  age,  in  Italy,  for  cen- 
turies , horizontal  mouldings  for  profane  building  pre- 
vailed. But,  as  early  as  the  XVth  century,  besides  the 
horizontal  divisions,  vertical  ones  came  into  use.  Pilasters, 
less  frequently  imbedded  columns,  were  disposed  along 
the  fagade  at  regular  distances,  and  somewhat  later  also 
in  spaces  of  varying  widths,  forming  rhythmic  bands. 
The  windows  of  the  basement  stories  were  small , and 
in  houses  of  a more  common  description  accomodation 

J)  One  only  needs  to  compare  the  facades  of  Brunelleschi’s 
and  Alberti’s  palaces  with  those  of  Palladio  and  Alessi,  the 
Palazzo  di  Venezia  with  the  Palazzo  Farnese  in  Rome,  or  the 
Borgia  apartments  in  the  Vatican  with  the  Sala  Regia,  of  which 
illustrations  are  to  be  found  in  J.  Baum’s  Baukunst  und  dekorative 
Plastik  der  Friih-Renaissance  in  Italien  (Bauformen-Bibliothek, 
Vol.  11)  and  C.  Ricci’s  Baukunst  und  dekorative  Plastik  der 
Hoch-  und  Spat-Renaissance  in  Itahen  (Bauformen-Bibliothek, 
Vol.  13). 


for  shops  was  provided.  The  upper  stories  in  Italy, 
being  most  healthy,  were  preferably  employed  for  dwell- 
ing purposes.  In  their  decoration,  too,  they  were  usually 
richer  than  the  rooms  on  the  ground  floor.  Glass  win- 
dows during  the  renaissance  were  only  to  be  found  in 
churches ; but  their  occasional  although  not  frequent 
occurrence  in  private  houses  is  proved  by  their  being 
mentioned  in  inventories1 2).  They  were  mostly  composed 
of  glass  roundlets  (bull’s  eyes)  set  in  lead,  and  were 
made  in  France,  Flanders  and  Venice.  More  often 
according  to  descriptions  in  old  books,  the  window- 
frames  were  filled  in  with  oiled  paper  of  a gay  colour, 
or  with  transparent  woven  material  impregnated  with 

turpentine  and  some- 
times painted  over'-'). 
The  frames  were  divided 
both  horizontally  and 
perpendicularly  and 
hinges  permitted  of  ope- 
ning some  of  the  parts. 
The  lower  half,  however, 
could  be  opened  out- 
wards. The  wooden 
shutters  were  similarly 
constructed  and  till  far 
into  the  Renaissance 
were  studded  with  thick 
nails.  These  also,  in  Italy, 
were  of  most  diverse 
forms  and  since  the  end 
oftheXV1'1  century  were 
occasionally  ornamented 
with  intarsias3)  and  carvings.  In  Florence  at  that  time 
they  were  still  entirely  plain;  painted  or  ornamented 
ones  being  far  rarer  than  in  the  northern  countries 4). 

Already  in  the  middle  ages  the  windows  were  pro- 
vided with  curtains.  The  apartments  were . as  a rule, 
more  spacious  than  those  of  contemporary  Europe. 
The  sense  for  homely  comforts  seems  to  have  been 
deficient  in  the  dwellers  of  the  south,  they  had  no  under- 
standing for  warmth  and  coziness.  The  hot  summer 
lasted  too  long  a time  in  those  parts,  or  at  least  the 
temperature  allowed  them  to  spend  the  greater  part  of 

')  Vide  A.  Schiaparelli,  La  Casa  Fiorentina,  (Biblioteca 
storica  del  Rinascimento  IV)  Firenze,  Sansoni  1908,  Vol.  1, 
page  124,  where  documents  are  quoted  mentioning  glass 
windows,  first  in  Bologna  1335  and  a little  later  in  Tuscany. 

2)  Vide  A.  Schiaparelli  , La  Casa  Fiorentina , (Biblioteca 
storica  del  Rinascimento  IV)  Firenze,  Sansoni  1908,  Vol.  1, 
page  128  and  sequ.;  also  C.  von  Stegmann  and  H.  von  Gey- 
miiller:  Architektur  der  Renaissance  in  Toskana  (Miinchen, 
Bruckmann)  Vol.  11,  pp.  5 — 7.  Both  works  contain  charac- 
teristic illustrations  after  pictures  and  intarsias. 

3)  These  may  be  seen  on  the  Borgognone  frescoes  in  the 
Certosa  near  Pavia. 

-1)  A.  Schiaparelli : La  Casa  Fiorentina,  p.  118:  Besides  this 
wooden  lattices  may  be  seen  on  paintings  (Carpaccio’s  St. 
Ursula’s  Dream  fig.  35). 


Phot.  Alinari 


2.  Paolo  Uccello:  A Small  Shop,  circa  1450  (Painting,  Predella) 

Urbino,  Palazzo  Ducale 


VIII 


the  day  out  of  doors  ]).  The  Italian  since  the  earliest  time 
has  been  accustomed  to  live  in  the  open  air  far  more  than 
his  northern  brother.  The  Piazza  was  the  place  both 
for  business  transactions  and  friendly  intercourse ; then 
as  now  the  wives  and  daughters  of  the  people  performed 


their  household  work,  as  far  as  possible,  in  front  of  the 
doorsteps.  Only  the  nobility  and  rich  citizens  who 
thought  it  bad  form  to  live  in  public,  remained  within 
their  own  doors. 

The  way  in  which  a people  lives  has  at  all  times 
influenced  decisively  the  decoration  of  the  home.  The 
manner  of  living  among  the  burghers  in  Italy  is  much 
more  simple  than  that  of  people  of  the  same  social 
standing  in  the  north ; the  palaces  of  the  patricians  are 
furnished  more  with  a view  to  ceremony  than  comfort. 

This  is  the  case  now  as  it  was  in  the  XVth  and  XVIth  cen- 
turies. Of  a like  importance  for  the  decoration  of  the 
interiors  was  the  feeling  for  style  among  the  Italians  of 
the  Renaissance.  They  avoided  everything  pertaining 
to  the  vague  in  forms  and  mere  outlines  in  architecture, 
sculpture,  and  painting;  and  in  the  same  way  as  in  the 
treatment  of  bronze  and  marble,  they  always  sought  to 
characterize  definite  gestures  and  reflex  movements  and 
to  arrange  the  groups  of  figures  in  their  frescoes  so 
that  the  whole  representation  could  be  grasped  at  once. 
The  same  obtained  in  the  exterior  of  the  buildings;  in 
the  arrangement  of  the  interiors  they  felt  that  each 
object  must  stand  out  clear  and  precise  and  that  the 
whole  effect  should  be  one  of  architectural  severity. 

This  we  gather  from  pictures  of  interiors,  as  also  from 
the  single  pieces  of  furniture  handed  down  to  us.  En- 
tire suites  of  furniture  of  this  period  have  not  been 
preserved.  In  this  respect  the  predilection  for  stone 


')  Therefore  the  court  plays  a much  larger  part  in  the 
south  than  in  the  northern  countries  and  is  often  surrounded 
by  arcades  as  a protection  against  rain  and  heat. 


or  related  materials  is  a characteristic.  It  was  used 
for  fillings,  the  walls  were  seldom  covered  entirely  with 
wood  panelling  like  they  were  on  the  bordering  districts 
of  Italy  and  the  other  side  of  the  Alps1)  and  what  is 
more  important,  much  of  the  woodwork  and  furniture 
are  free  imitations  of  the  forms  used  in  stone  archi- 
tecture 2 3). 

As  a rule  the  floors  (pavimento) s)  of  the  ceremonial 
apartments  were  paved  with  chequered  flags , often 
separated  by  narrow  longitudinal  and  lateral  stripes. 
Far  less  restful  in  effect  were  the  bright  coloured 
cube  mosaics  which,  influenced  by  the  work  of  the 
middle  ages,  were  frequently  favoured  in  Rome  even 
in  the  XVth  century.  In  the  houses  of  the  burghers 
burnt  brick  floors  were  everywhere  prevalent.  Generally 
these  were  in  natural  colours,  rough,  sometimes  ribbed, 
square  or  of  lozenge  shape.  Where  a rich  effect  was 
desired,  they  where  glazed  over  yellow,  green,  white 
and  red  and  arranged  in  checkers  like  the  marble  flagged 
floors.  Finally  in  the  second  half  of  the  XVth  century 
tiles  painted  in  geometrical  or  heraldic  patterns  came 
into  vogue.  These  were  often  so  arranged  as  to  resemble 
oriental  woven  stuffs4).  Some  of  a charming  Renaissance 
design  (grotesques)  made  in  Siena,  now  scattered  in 
various  collections,  originally  formed  parts  of  the  richly 
patterned  floor  of  the  Palazzo  Piccolomini.  Such  tiles 


were  made  in  the  workshops  in  Montelupo  and  in  those 
of  della  Robbia  in  Florence,  from  the  latter  came  the 


4)  In  Upper  Italy  near  the  Alps  high  panelling  is  most  fre- 
quently met  with.  The  Sala  della  Mercanzia  in  the  Cambio, 
Perugia  is  a rare  example  of  an  entirely  panelled  room.  (fig.  46.) 

2)  This  is  true  of  columns,  pilasters  and  entablature,  con- 
soles, extended  volutes,  egg  and  bead  moulding,  meanders, 
mat-work,  conch  friezes  and  more  intricate  motives. 

3)  See  Lehnert  „I!!ustricrte  Geschichtc  des  Kunstgewerbes“, 
Vol.  I pp.  434/5. 

‘)  Illustrations  may  be  found  in  J.  Baum’s  work  pag.  157,  158. 


IX 


tiles  for  the  papal  private  rooms  (Stanze)  and  theLoggie1) 
of  the  Vatican  2). 

It  was  sought  to  establish  harmony  in  coloring,  though 
not  in  design,  with  the  other  decorative  work  of  the 
room.  It  was  Michelangelo  who  first  brought  perfect 
harmony  into  effect  when  he  commissioned  Tribolo  to 
repeat  the  design  of  the  richly  carved  roof  of  the 
Laurentian  library  for  the  terra  cotta  and  coloured 
mastic  tiled  floor.  In  the  later  ceremonial  apartments 
of  the  Palazzo  Vecchio  in  Florence,  the  chief  lines  of 
the  roof  decoration  are  repeated  in  the  design  on  the 
yellow  and  red  terra  cotta  floor.  Till  far  into  the 
XV11'  century  oriental  carpets  were  very  rare : but  we 
know  from  existing 
paintings  that  they 
were  sometimes  used 
even  in  the  XIVth  cen- 
tury. Because  of 
their  preciousness 

they  were  often 
spread  on  the  steps 
before  the  Madonna 

altars  and  ducal 
thrones.  It  was  in 
Venice  that  they  first 
became  more  popu- 
lar, for  being  the 
open  door  to  the 
orient,  there  must 
have  been,  at  a later 
period,  a large  export 
of  these  costly  knot- 
ted carpets  to  the 
Apennine  peninsula. 

Even  woven  wall  hangings  were  first  only  to  be  found 
in  the  homes  of  the  rich.  But  it  is  characteristic  that 
already  in  the  XIVth  century  the  walls  were  painted 
after  designs  of  woven  materials.  It  is  equally  true  that 
in  most  houses  the  walls  were  simply  whitewashed  till 
far  into  the  renaissance.  But  with  increasing  wealth 
frescoe  painting  which  hitherto  had  been  reserved  for 
the  church  walls  and  had  formed  the  chief  aim  of  Italian 
painters,  now  found  its  way  into  private  homes;  great 
masters  such  as  Castagno  and  Botticelli , Mantegna, 
Raphael,  Pierino  del  Vaga,  Dosso  Dossi  and  numerous 
others  decorated  the  walls  of  rich  patricians  houses. 
It  would  form  an  important  chapter  of  Italian  art  to 
describe  in  detail  the  frescoes  representing  historical 
facts  and  inventions  to  be  found  on  the  walls  of  the 

*)  Illustrations  Lehnert  as  above  p.  516. 

-)  Compare  Schiaparelli  as  above  p.  136.  The  round  majo- 
lica tiles  in  the  Victoria  and  Albert  Museum  in  London 
No.  7632 — 7643.  J.  C.  Robinson’s  catalogue  of  Italian  Sculpture 
p.  59,  which  show  the  twelve  months  in  a primitive  design 
were  brought  into  connection  with  Luca  della  Robbia’s  decor- 
ative work  in  Piero  Medici’s  studio.  Compare  A.  Marquard: 
imcca  della  Robbia  (Princeton  a.  London  1914)  p.  89  a.  sequ. 


buildings  of  the  Renaissance  ').  On  the  whole  the  rich 
painting  was  restricted  to  the  upper  parts  of  the  walls. 
Already  in  the  XIVth  century,  landscapes,  mostly  rows 
of  trees,  were  often  to  be  met  with,  Leonardo  da  Vinci 
brought  this  motive  to  a superb  monumentality  in  the 
Sala  delle  Asse  of  the  Castello  Sforzesco  in  Milan; 
Correggio  and  Giovanni  da  Udine  among  others,  paint- 
ed vaults  to  look  like  arbours.  The  chief  part  of  the 
wall  was  mostly  divided  off  into  fields  and  decorated 
with  geometrical  or  heraldic  designs.  They  appear  either 
to  resemble  wall-paper  or  the  design  falls  into  soft 
falling  drapery.  At  times  a peculiar  combination  takes 
place,  for  instance  when  stuffs  or  big  fur  rugs  appear 

to  be  suspended  on 
the  boughs  of  the 
trees  (fig.  34)  -). 

In  Italy  wainscot- 
ting  (spalliera)  be- 
yond the  lower  part 
of  the  wall  was  only 
used  in  profane  build- 
ings of  a public 
character,  such  as 
guild  halls  and  mu- 
nicipal palaces. 

In  the  sacristries 
the  boiseries  served 
to  conceal  the  cup- 
boards hidden  behind 
them , a use  which 
later  found  its  way 
into  private  houses. 
Such  are  mentioned 
in  inventories  of  the 
Medici  family;  an  extremely  fine  example  of  painted 
panelling  still  exists  in  the  study  of  Francesco  I.  in  the 
Palazzo  Vecchio  in  Florence,  (fig.  62). 

T he  wall  - panelling  was  about  a man’s  height  from 
the  floor  and  usually  divided  into  perpendicular  oblongs; 
in  cases  where  it  was  lower  the  horizontal  oblong  was 
preferred,  or  in  order  to  maintain  architectural  rhythm, 
they  were  used  alternately  or  replaced  by  a quadratic 
filling.  The  brown  surfaces  were  relieved  either  by 
narrow  border  friezes  or  intarsias,  landscape  motives, 
still  life  and  various  subterfuges  were  resorted  to  in 
order  to  deceive  the  eye. 

Thus  the  Stanze  della  Segnatura  in  the  Vatican  was 
originally  decorated  with  beautiful  panelling  showing 

])  See  Illus.  Baum  as  above  pp.  134 — 41. 

2 ) Important  fragments  of  profane  painting  of  rather  early 
date  are  also  to  be  found  in  the  Museo  of  San  Marco  in 
Florence,  published  in  II  Centro  di  Firenze  (Florence,  Bem- 
porad  1910).  Schiaparelli  as  above,  pp.  146 — 7 derives  the  latter 
motive  from  the  tent-like  shelters  favored  by  the  war-loving 
barons.  These  imitative  paintings,  of  the  late  Middle  ages 
were,  in  the  Renaissance,  replaced  by  woven  or  leather  stuffs 
stretched  in  wooden  frames,  which  in  Venice  were  frequently 
employed  instead  of  wainscotting.  (fig.  32.) 


Phot.  Alinari 


5.  F.  Pesellino:  Simple  Bedroom  in  Florence  ca.  1450 
(The  Miraculous  ITealing.  Louvre,  Paris) 


X 


charming  vedutes  painted  by  Fra  Giovanni  da  Verona1). 
And  a still  greater  display  of  imagination  is  exhibited 
in  the  decorations  of  Duke  Federigo  da  Montefeltro’s 
small  study  in  the  castle  of  Urbino,  the  panelling  of 
which  conveys  the  illusion  of  open  cupboards  containing 
books  and  all  sorts  of  things,  of  benches  on  which 
weapons,  instruments  and  manuscripts  seem  to  be  plac- 
ed in  motley  confusion. 

Unfortunately  the  twenty -eight  portraits  of  famous 
men  of  genius  which  once  graced  the  upper  part  of  its 
walls,  are  no  longer  in  their  places,  having  been  scattered 
abroad  in  different  museums2),  so  that  we  can  only 
imagine  the  general  impression  this  study  once  made 
but  can  no 
longer  fully 
appreciate  it  in 
its  entirety’1). 

The  same  is 
true  of  the 
private  rooms 
(il  Paradiso)  of 
Lady  Isabella 
d’Este  in  the 
Reggia  of 
Mantua,  which 
for  their  noble 
proportions 
and  harmony 
of  their  rich 
decorations, 
carvings , in- 
tarsias and  co- 
loured marble 

ornamentations  may  be  called  a gem  of  Italian  home 
culture.  A more  austere  effect  is  produced  by  inlaid 
work  where  it  is  exclusively  employed  for  ornamental 
purposes,  when  only  two  shades  of  colouring  are  used. 
This  may  be  judged  from  Ghirlandajo’s  fresco  of  the  Birth 
of  the  Holy  Virgin,  in  S.  Maria  Novella,  in  Florence, 
where,  moreover,  the  upper  part  of  the  wall  shows 
a relief  instead  of  the  (usual)  coloured  painting 
(fig.  38). 

In  some  cases,  panel  work  may  have  been  removed 
later,  for  fashions  changed,  or  because  hangings  reaching 
down  to  the  floor  were  used  to  cover  the  walls.  In  other 
cases  the  desire  to  employ  the  panel-paintings  for  other 

')  Vasari,  English  edition,  translated  by  A.  B.  Hinds, 
Vol.  IV,  p.  53. 

3)  Bombe,  Justus  of  Ghent  in  Urbino.  Mitteilungen  des 
Kunsthistorischen  Institutes  in  Florenz,  Vol.  I.  (Berlin  1909), 
p.  Ill  and  sequ. 

3)  L.  Venturi  believes  that  the  panelling  was  made  be- 
tween 1472  and  1482  by  Baccio  Pontelli  who  learnt  tarsia- 
making from  Francione  and  Giuliano  da  Maiano,  the  “Three 
Cardinal  Virtues”  being  made  after  a design  by  Francesco 
di  Giorgio  Martini.  (L.  Venturi,  L’Arte  Vol.  XVII,  1914, 
pp.  450 — 459,  figs  ib.) 


purposes  might  have  been  the  reason  of  their  removal '). 
In  all  cases,  however,  the  panelling  terminated  at  a 
man’s  height  above  ground  in  a profiled  moulding  with 
a narrow  shelf,  where  bronze  statuettes  and  small  ob- 
jects of  household  use  were  placed,  while  sculptures  of 
a larger  size  were  installed  on  the  mantlepieces  or 
above  the  doors 2). 

Where  the  upper  parts  of  the  walls  were  merely  white- 
washed, pictures  were  hung  there,  or  in  some  cases  the 
entire  surface  was  covered  with  them,  as  in  the  studio 
of  Urbino.  Tapestries  were  brought  from  Flanders  and 
France  in  the  XVth  century,  and  even  earlier;  but  only 
in  the  palaces  of  the  wealthy  princes  were  they  to  be 

met  with  in 
larger  num- 
bers. It  is  char- 
acteristic for 
the  age  of  the 
High  Renais- 
sance that  the 
wall  surfaces 
show  an  archi- 
tectonic divi- 
sion; horizon- 
tally by  a spe- 
cial decoration 
of  the  lower 
parts  of  the 
walls  in  place  of 
wainscotting; 
and  vertically 
by  pilasters 
and  pilaster- 
like stripes.  And,  since  the  middle  of  the  XVIth  century, 
partially  rounded  statues  were  placed  between  the  pictures 
which,  even  if  painted  in  fresco,  were  surrounded  by  stucco 
frames.  Such  may  be  seen  in  the  Sala  Reggia  in  the 
Vatican  and  in  the  gorgeous  corridor  of  the  Palazzo 
Spada  in  Rome,  which  is  of  more  recent  origin.  By  that 
time  a pompous  decoration  of  the  apartments  of  the 
patricians  had  almost  become  the  rule,  especially  in 
Venice.  Francesco  Sansovino3)  mentions  an  infinite 
number  of  palaces  in  the  city  of  lagoons  in  which  the 
walls  of  the  apartments  were  covered  with  gobelins, 


J)  Schiaparelli,  in  the  work  quoted  above,  page  168,  and 
seq,  expresses  the  opinion  that  many  paintings  which  formerly 
were  believed  to  be  coffer-paintings  originally  had  their  places 
in  or  above,  a panelling.  Schubring  supposes  that  intarsias 
were  used  for  the  lower  part  of  the  walls,  the  pictures  being 
placed  above  them.  (Cassoni,  Leipzig  1915,  pp- 9 — 11.) 

"’)  The  largest  panel  work  and  wall  coverings  made  of 
stuffs  or  leather  are  to  be  found  in  Upper  Italy,  especially 
in  Venice  (fig.  65).  In  the  Ducal  Palace  in  Venice  there  are 
extremely  fine  boiseries  of  a later  period,  (figs.  66  and  67.) 
In  Central  Italy,  marble  wall  facings,  and  imitations  of  such, 
are  not  infrequent. 

3)  Venezia  nobilissima  (Venice  1580)  p.  142. 


Phot.  Brogi 

6.  Fra  Filippo  Lippi:  St.  Augustine  in  his  Cell  (segment) 


XI 


silken  hangings1)  or  pressed  leather'2)  and  the  floor  laid 
over  with  carpets.  The  latter  were  frequent  even  in  the 
houses  of  the  burghers.  Sporadic  cases  of  this  form  of 
luxury  existed  soon  after  1500.  Thus  Bandello  in  his 
42d  tale  describes  the  house  of  the  Roman  courtesan 
Imperia,  whose  apartments  were  all  decked  out  with 
velvet  and  brocade,  one  of  them  even  with  gold  brocade, 
while  costly  carpets  covered  the  entire  floor.  Besides 
richly  ornamented  furniture  superb  vases  of  coloured 
marble  were  there,  the  table  was  spread  with  a rich 
velvet  cover,  a musi- 
cal instrument  and 
some  precious  books 
lying  upon  it.  And 
in  the  4th  tale  the 
poet  depicts  a bed- 
chamber whose  walls 
were  hung  with  richly 
embroidered  red  vel- 
vet and  contained, 
besides  the  state  bed 
a table , four  arm- 
chairs of  red  velvet, 
and  no  less  than  eight 
carved  chests  and 
several  pictures  by 
Leonardo  da  Vinci. 

Although  — on  men- 
tion of  these  pictures 
— the  whole  seems 
rather  a poetical  in- 
vention than  the 
description  of  a real 
apartment,  it  may  be 
assumed  that  richly 
decorated  rooms 
really  existed  at  that  time  3).  The  ceilings  were  sometimes 
vaulted,  in  imitation  of  the  naves  of  churches  or  of  public 
halls;  as  a rule,  however,  those  in  private  houses  were  flat 
timbered.  In  the  XVth  century  the  simple  construction  left 
the  parallel  brown  joists  visible,  the  girders  being  emphasis- 
ed by  slightly  projecting  small  consoles.  Afterwards,  evi- 
dently bearing  some  relation  to  the  classic  stone  ceiling, 
the  coffer-work  ceiling  came  into  vogue ; this  gradually 
developed  into  richer  forms  beautified  by  carvings  until 
these  for  themselves  finally  served  a purpose,  and  the 
regular  filling  in  of  the  surface  by  receding  quadrangles 
was  replaced  by  more  spacious  architectural  arrangements 

*)  The  Venetian  pilaster  decorations  with  trophies  made 
of  woven  silk  which  are  now  in  the  textile  collection  in  the 
Museum  for  Arts  and  Crafts,  Berlin,  appear  to  us  as  an  aber- 
ration of  taste. 

2)  The  rare  and  costly  leather  tapestries,  which  frequently 
were  painted  with  gold  or  silver,  were  probably  imported 
from  Spain.  Vide : Schiaparelli,  as  above  quoted,  pp.  229,  230. 

3)  Jakob  Burkhardt,  Geschichte  der  Renaissance  (5th  edition) 
page  320. 


of  different  forms.  This  transformation  was  occasioned 
by  the  circumstance  that  the  ceilings,  whether  flat  or 
vaulted,  and  also  the  upper  parts  of  the  walls,  were 
decorated  by  stucco  and  plasterwork '),  either  tinted  or 
white  with  slight  touches  of  gold , or  with  charming 
alternations  with  paintings.  The  latter  was  favored  in 
the  XVth  century  for  covering  gothic  vaultings  until  the 
new  renaissance  forms,  developed  in  church  architecture, 
were  taken  over  for  profane  buildings  and  adapted  to 
their  special  purposes.  As  in  the  middle  ages,  now  also 

it  was  sought  to 
produce  an  harmo- 
nious effect  between 
the  mural  painting 
and  the  painted  vault- 
ing. Only  the  sur- 
face-like  treatment 
of  the  decoration  was 
replaced  by  arrange- 
ments of  an  architec- 
tonic character, 
either  painted  or  in 
relief,  the  handling 
presenting  more 
broad  features.  But 
this  manner  of  dec- 
oration had  no  bear- 
ing on  the  con- 
struction of  the  buil- 
ding. And  the  same 
must  be  said  of  the 
vaulted  wood  ceilings 
of  the  renaissance, 
the  most  charming 
specimen  of  which 
is  doubtlessly  the 
already  mentioned  closet  of  Isabella  d’Este  in  Mantova. 

The  most  important  decorative  object,  apart  from  the 
furniture,  was  the  fireplace2).  It  had  been  in  use  in 
Italy  since  the  XIVth  century  and  in  the  age  of  the  re- 
naissance it  was  doubtlessly  to  be  met  with  in  many 
a reception  room  and  bed-chamber.  The  fireplace,  which 
in  the  burgher’s  home  had  served  for  giving  warmth  and 
for  cooking  purposes  (fig.  2) , had  developed  into  an 
ingenious  construction  of  decorative  architecture  even 
towards  the  end  of  the  middle  ages.  It  was  flanked  by 
low  stone  benches  or  narrow  walls  supporting  the  mantel- 
piece or  hood  (fig.  538).  Then  it  began  frequently  to 
broaden  out  while  the  mantelpiece  was  emphasised  by 
lending  it  an  entablature,  the  supports  being  formed 
like  pilasters  or  enriched  with  balusters  or  columns.  All 
the  surfaces  were  ornamented  or  covered  with  storied 
reliefs  (figs.  539 — 550).  When  possible,  the  end  of  the 

0 For  detailed  account  on  the  decoration  of  the  ceiling  see 
Jakob  Burkhardt  as  quoted  above,  pp.  343 — 358. 

2)  See  Schiaparelli,  in  the  book  quoted  above,  pp.  88  and  sequ. 


.t'iiot.  Anderson 

7.  Marriage  of  the  Adimari  (segment).  Painted  on  a Chest  about  1450 

Academy,  Florence 


XII 


8.  Florentine  Banqueting  Hall  (Feast  of  Aeneas  and  Dido).  Painted  on  a Chest 

Kestner  Museum,  Hanover 


gable-shaped  hood  was  fixed  into  the  wall,  or  it  was 
hidden  by  plastic  decorations  (fig.  546)  ’). 

The  doors  likewise  were  sculptured* 2);  and  with  them 
still  more  than  with  the  chimneys,  the  imitation  of  classic 
forms  seemed  a matter  of  course.  The  plastic  ornaments 
were  still  further  enriched  by  the  employment  of  materials 
of  different  colours  (fig.  534/5).  It  was  perfectly  in 
keeping  with  the  Italian  predilection  for  spacious  rooms, 
and  with  the  new  consciousness  of  human  dignity  and 
social  position  that  the  passages  were  beautified  and 
made  loftier ; the  cultured  sense  for  architecture  demanded 
that  every  opening  in  the  wall,  whether  chimney  or  door, 
should  be  finished  off  by  a cornice  (figs.  530 — 533). 
Wooden  door  frames  from  renaissance  profane  buildings 
have  scarcely  been  preserved  to  us,  but  many  wings  of 
double  doorways  which  are  simply  divided  into  panels 
and  studded  with  massive  nails,  or  ornamented  with 
carvings,  have  come  down  to  us,  while  in  the  interiors 
intarsias  and  plastic  ornaments  were  combined,  or  the  latter 
employed  alone  (figs.  519 — 529).  For  small  doors  in  the 
houses  of  the  burghers,  narrow  bands  of  intarsia  work 
were  thought  sufficient,  these,  however,  produced  a very 
pleasing  general  effect.  When  a greater  display  of  sumpt- 
uousness was  intended,  sculptured  friezes,  and  storied 

')  Simple  andirons  are  mentioned  in  inventories  as  early 
as  1418. 


or  ornamental  panels  were  chosen  (figs.  515,  517  and 
518);  or  the  panel  was  painted  to  produce  the  illusion  of 
niches  with  statuettes  or  profiles,  or  even  of  open  cup- 
boards in  which  books  lay  heaped  together  (fig.  516) '). 
Such  motives,  not  quite  suitable  for  doors,  were  alto- 
gether abandoned  in  the  XVIth  century.  Here,  too,  the 
more  multiform  ornamental  carving  became  the  vogue 
(figs.  523,  525—527). 

The  culture  of  the  home,  during  the  renaissance,  was, 
as  a rule,  considered  in  its  entirety ; only  the  perspic- 
uity of  the  architectural  proportions  in  the  total  effect 
of  the  interior  arrangements,  as  well  as  in  each  single 
form , is  characteristic  throughout  this  happy  period. 
Its  single  evolutions  greatly  differ  from  one  another; 
and  a most  momentous  development  is  clearly  discern- 
ible. From  simple  forms  of  construction,  throwing  into 
relief  the  rigidity  of  the  walls,  it  proceeded  to  a multi- 
form division  of  all  the  surfaces,  rendering  them  con- 
spicuous by  diversifying  and  enlarging  all  the  profiles. 
The  bright  colouring  gave  way  little  by  little,  being 
restricted,  or  entirely  replaced  by  sculptured  accessories. 
This  may  also  be  maintained  regarding  the  wall  cover- 
ings, furniture,  paintings  and  intarsia  work.  The  inter- 
connection of  the  several  parts  was  made  obvious  by 

')  Two  very  beautiful  door  wing’s  with  purely  ornamental 
intarsias  from  the  Palace  in  Gubbio  are  contained  in  the 
I'igdor  Collection,  Vienna  (reproduced  by  Stegmann  in  Kunst 
und  Kunsthandwcrk  X,  1907,  p.  124). 


2)  Illustrations  of  chimneys  and  doors  may  be  seen  in 
J.  Baum’s  work,  already  cited,  pp.  271  272,  163  and  sequ. 


XIII 


the  identity  of  the  motives,  or  by  a like  division  of 
the  floor  and  the  ceiling;  or  the  latter  was  brought 
into  relation  with  the  walls  by  means  of  the  decorations. 
The  covering  of  the  walls  with  plain  velvets  or  silks  in 


place  of  verdures  and  storied  tapestry,  is  also  charac- 
teristic for  the  change  of  taste;  at  the  same  time  the 
increasing  wealth  became  manifest  in  the  more  sump- 
tuous furniture  of  the  apartments  of  the  patricians. 


II.  FURNITURE 


General  Remarks 

Household  Furniture  ')  may  be  considered  as  either 
movable  or  immovable.  In  ancient  times  the  character 
of  transportable  furniture 
was  often  indicated  by  form- 
ing the  feet  like  a lion’s  paw 
or  that  of  some  otheranimal. 

This  motive  was  even  emp- 
loyed in  marble  tables,  al- 
though their  size  together 
with  their  great  weight, 
lends  them  the  appearance 
of  decorative  stone  sculp- 
tures rather  than  furniture 
(fig.  23).  Although  but 
few  pieces  of  wood -work 

')  Bibliography:  Wilhelm 

von  Bode,  Italian  Household 
Furniture  of  the  Renaissance 
(2.  edition,  Leipzig,  1920)  a 
work  which  could  be  cited  on 
each  of  the  following  pages. 

Of  importance  also  is:  Arts 
and  Crafts  at  the  time  of  the 
Renaissance  by  G.Swarzenski 
and  W.  Behnke  in  Lehnert’s 
Illustrated  History  of  Arts  and 
Crafts,  Vol.  I,  pp.  423  and 
sequ.;  Lessing,  Designs  (Vor- 
bilderhefte)  from  the  Royal 
Museum  of  Arts  and  Crafts 
(Berlin  1899-  1905)  numberl2 
(Chests),  14  (Furniture  of  the 
XVIth  century)  and  15  (Doors) ; 

A.  G.  Meyer,  (Illustrations)  for 
the  history  of  the  forms  of  furni- 
ture (Leipzig  1902,  and  sequ). 

George  Leland  Hunter:  Italian 
Furniture  and  Interiors,  London  and  New  York,  treating  chiefly 
of  furniture  owned  by  Americans  and  English  in  their  respect- 
ive countries,  and  in  Florentine  villas;  Molinier:  Histoire 
generate  des  Arts  appliques  a l’lndustrie  (Paris  1896 — 1900) 
Vol.  II  which  deals  principally  with  church  furniture,  (parts  are 
now  out  of  print).  G.  Ferrari : II  Legno  nell’  Arte  Italiana, 
likewise  about  church  furniture  and  ceilings  and  panelling. 
On  the  Culture  of  the  Home  in  the  single  villages:  Molmenti : 
La  Storia  di  Venezia  nella  Vita  privata.  Vol.  II.  Bergamo  1906. 
G.  Ludwig:  Venetian  Furniture  at  the  time  of  the  Renais- 
sance, Italian  Researches  I (Berlin  1906),  Malaguzzi-Valeri : 
La  Corte  di  Ludovico  il  Moro,  Vol.  I,  (Milan  1913)  and  others. 

The  most  important  collections  of  Italian  furniture  are  to 
be  found  in  the  Schloss-Museum,  (Museum  for  Arts  and  Crafts, 
in  the  old  imperial  castle)  in  Berlin;  in  the  Landes-Museum 
in  Darmstadt,  in  the  museums  for  arts  and  crafts  in  Leipzig 


made  of  wood  have  come  to  us  from  Greek  antiquity, 
it  is  certain  that  the  Greeks  were  perfect  in  crafts- 
manship. Vase  ornamentation  shows  us  that  already  in  the 

sixth  century  B.  C.  house- 
hold turned  furniture  was 
in  use.  In  the  following 
saeculum  veneering,  intar- 
sia and  sculptured  de- 
corations were  employed 
on  coffins  and  we  can 
imagine  that  such  were 
also  used  to  ornament 
household  utensils. 

Hellenism  refined  all 
domains  of  craftsmanship, 
and  the  luxury  everywhere 

and  Frankfort  on  the  Maine, 
Hamburg  and  Vienna,  in  the 
Victoria  and  Albert  Museum, 
London,  the  Museo  Civico, 
Turin,  and  the  Castello  Sforza, 
Milan.  In  the  Palazzo  di 
Venezia  in  Rome,  a collection 
of  furniture  is  now  being 
formed.  Besides,  numerous 
other  collections  contain  inter- 
esting pieces  of  furniture  plac- 
ed between  pictures  and 
statues,  as  e.  g.  in  the  Kaiser 
Friedrich-Museum  in  Berlin, 
the  Museo  Nazionale  in  Flor- 
ence, Museo  Poldi-Pezzoli  in 
Milan,  Musee  Andre-jacque- 
mart  in  Paris,  Liebig  House 
in  Frankfort  on  the  Maine,  and 
other  cities  and  towns.  Of  all 
the  private  collections,  Dr.  Fig- 
dor’s  in  Vienna  ranks  first. 
Besides  this  the  following  should  be  mentioned:  Dr.  E. Simon’s 
in  Berlin,  those  of  Prof.  Dr.  Lanz  in  Amsterdam,  Stefano  Bardini 
in  Florence,  EliaVolpi  in  the  Palazzo  Davanzati,  Luigi  Grassi 
and  lastly  that  of  Hubert  Horne,  recently  bequeathed  to  the  State, 
and  others  to  be  found  in  some  of  the  villages  in  the  environs. 
Milan  possesses  the  large  collections  of  the  brothers  Bagatti- 
Valsecchi,  that  of  Dr.  v.  Beckerath  in  Berlin  was  sold  by  auction 
in  1915.  On  the  occasion  of  the  jubilee  at  Rome  in  1911, 
several  rooms  tastefully  decorated  with  High  Renaissance 
furniture  were  on  view  at  the  Mostre  Retrospettive  (retro- 
spective show)  at  the  Castel  Saint  Angelo.  (Illustrated  in 
“L’Arte”  XIVth  1911,  pp.  447  and  459.)  Besides  these,  a large 
number  of  good  single  pieces,  and  many  made  up  of  different 
parts,  as  also  copies  of  ancient  furniture,  are  to  be  found  in 
divers  public  and  private  collections  in  Europe  and  the  Uni- 
ted States. 


9.  Kitchen  in  House  of  Patrician  after  1600.  Engraving 


XIV 


prevailing  under  the  Roman  emperors  found  its 
expression  in  the  culture  of  the  home.  But  the 
Italians  of  the  Renaissance,  who  found  immediate  in- 
spiration in  antique  architecture  and  sculpture  possibly 
never  saw  even  a single  piece  of  wood  furniture : 
at  most  only  such  made  of  stone  or  metal.  They 
were , to  a large  extent, 
dependent  on  the  types  of 
the  late  middle  ages,  in 
which,  it  is  true,  some  single 
pieces  showed  the  in- 
fluence of  the  antique. 

Their  habits  of  life  more 
nearly  approached  those  of 
the  immediate  past  than 
those  of  a thousand  years 
earlier,  and  in  this  respect 
a creative  development  of 
the  renaissance  style  was 
necessary x)  which  from  the 
point  of  view  of  art  de- 
serves no  less  appreciation 
than  the  construction  of 
churches  and  palaces. 

The  culture  of  the  home 
during  the  Gothic  period 
of  art  was , on  the  other 
side  of  the  Alps,  more 
highly  developed  than  in 
Italy,  a fact  which  is  suf- 
ficiently explained  by  the 
political  conditions  pre- 
vailing in  the  Apennine 
peninsula,  and  the  habits 
and  customs  of  the  south- 
erners, as  already  men- 
tioned. Still  Gothic  furni- 
ture only  arrived  at  perfection  in  the  fifteenth  century, 
at  a time  when,  in  Italy,  the  renaissance  had  reached 
its  culmination , and  northern  influence  is  unmistakable 
till  after  1500,  in  Liguria2)  Piedmont,  Lombardy,  and 
Venetia.  There  was  an  interchange  between  both  sides 
of  the  Alps2).  It  even  accorded  with  the  artistic  taste 
of  the  city  of  lagoons  to  combine  Germanic  motives 
with  those  of  the  orient  and  central  Italy  to  a charm- 
ing effect  on  one  and  the  same  piece  of  furniture 
(fig.  78).  In  northern  Italy  no  new  completely  pure  style 
could  be  created.  The  cradle  of  home  culture  was  Tus- 
cany, which  not  alone  invested  architecture,  painting 
and  sculpture  with  new  forms,  but  also  furniture.  From 
the  Arno  the  new  style  found  its  way  both  to  the  north 

')  Only  classic  forms  of  marble  tables  were  directly  copied 
in  stone  and  wood. 

2)  Numerous  examples  exist  in  the  Museo  Civico,  Turin. 

')  Vide:  Robert  Schmidt:  Mbbel  (Bibliothck  fur  Kunst  und 
Antiquitatensammler  Vol.  5),  3cl  Edition,  p.  70  and  sequ. 


and  to  the  south.  The  first  centres  of  furniture-making 
were  Florence  and  Siena;  from  there  it  found  its  way 
to  Rome  and  Venice,  finally  Milan,  Genoa  and  Bologna 
gained  importance  in  this  respect.  But  the  roving  hab- 
its of  the  artist-designers  and  their  collaboration  with 
native  wood-carvers  and  cabinet-makers  as  also  with 

foreign  intarsia  artists,  often 
make  the  local  peculiar- 
ities imperceptible.  The 
contrasts  between  the  early 
and  later  works  of  this 
period  are  more  easily 
distinguishable. 

The  culture  of  the  home 
received  important  stimulus 
from  the  churches  and  their 
decorations,  this  influence, 
however,  being  of  a still 
higher  degree  in  the  middle 
ages.  It  was  not  so  much 
the  altar  ornaments  as  the 
choir  stalls,  the  sacristy  fur- 
niture, and  that  of  the 
adjoining  rooms,  which 
offered  valuable  examples 
(fig.  195).  Then  the  fruc- 
tuation  became  a mutual 
one.  Famous  artists  design- 
ed decorative  objects  for 
the  Church  and  private 
houses,  and  notable  wood- 
carvers  and  intarsia-makers 
ornamented  both ; house- 
hold and  church  furniture 
are  often  so  much  alike 
in  form  and  decoration  that 
it  is  hardly  possible  to  find 
out  which  purpose  the  single  pieces  were  originally 
intended  to  serve  ').  Moreover  many  fine  examples  came 
from  the  nunneries  and  monasteries  which  formed  the 
connecting  link  between  sacred  and  profane  architecture, 
(figs.  201,  202  and  212.)  And  it  is  exactly  these  build- 
ings which  are  often  so  richly  decorated  or  the  furniture 
of  so  pure  a form  that  tell  us  only  notable  artists  could 
have  conceived  them.  With  regard  to  this  point  we 
are  best  informed  concerning  the  Badia,  at  the  foot  of 
the  Fiesolan  hills,  which  Cosimo  Medici  had  restored2). 
Francesco  Sforza  also  took  special  interest  in  the  mag- 
nificent decoration  of  the  Certosa,  near  Pavia,  and  the 

')  This  is  equally  true  of  benches  and  cupboards. 

2)  The  intarsia  door  (fig.  515)  came  from  this  abbey.  For 
the  architecture  and  decoration  of  this  religious  house  the 
following  works  should  be  consulted : C.  v.  Stegmann  and 
H.  v.  Geymiiller,  cited  above,  Vol.  I,  Brunnelleschi  pp.  49  58 

and  G.  v.  Fabriczy,  Filippo  Brunelleschi  p.594;  and  Jahrbueh 
der  preuss.  Kunstsammlungen,  XXIV111  Supplementary  number 
p.  137,  (Giuliano  da  Maiano). 


10.  Pantry.  Engraving.  (After  1600) 


XV 


apartment  of  the  abbess  in  the  Parma  nunnery  must 
have  been  a charming  work  of  art  when  below  Cor- 
reggio’s frescoes  the  delicately  carved  furniture,  part  of 
which  is  now  in  the  Parma  Museum,  was  in  its  destined 
place  (fig.  547). 

There  were,  and  are  even  to-day,  far  fewer  pieces  of 
furniture  in  the  rooms  of  the  Italians  than  in  those  of  a like 
size  on  the  other  side  of  the  Alps.  This  stately  spacious- 
ness appears  to  us  almost  emptiness,  and  more  especially 
the  ceremonial  apartments,  which  were  furnished  with 
carpets,  cushions  and  hangings  only  on  festival  occasions, 
must  have  seemed  cold  and  bare  at  ordinary  times. 
We  gather  from  pictures  that  already  in  the  middle 
ages  stuffs  played  a 
great  role  in  the 
interior  decorations. 

Often  costly  oriental 
or  Italian  woven  ma- 
terials may  have  been 
used  to  cover  roughly 
put  together  pieces 
of  furniture,  for  only 
during  the  renais- 
sance didtheyreceive 
that  perfection  of 
form  which  allowed 
of  their  being  ex- 
posed to  the  scru- 
tiny of  all  comers. 

In  the  sleeping  apartments  the  ample  bed  often  oc- 
cupied the  most  prominent  place.  In  reception  and  living- 
rooms  the  centre  was  sometimes  emphasied  by  a table 
which  not  infrequently  was  of  monumental  form.  Chests, 
benches  and  sideboards  were  placed  along  the  walls, 
especially  the  first  mentioned,  which,  as  late  as  the 
XVIth  century  were  predominate  everywhere1),  lending 
to  the  whole  of  the  wooden  furniture  the  appearance 
of  being  a determinate  part  of  the  architecture,  forming 
a kind  of  base  to  the  wall.  It  was  no  mere  chance,  but 
from  what  has  been  said,  it  rather  seems  natural  that 
the  Gothic  cupboards  with  long  slender  columns  never 
found  way  in  Italy  (figs.  235 — 6);  just  as  coffers  with  a 
high  substructure  open  in  front  are  only  of  exceptional 
occurrence,  and  then  only  near  the  Alps  (fig.  98).  Neither 
did  these  substructures,  or  chests  supported  only  by 
slender  pillars,  conform  to  the  taste  of  the  southerner. 
The  big  sideboard  and  most  of  the  coffers  were  planted 
terra  firma  on  the  ground.  Only  the  smaller  cupboards 
and  the  chests  were  provided  with  low  feet,  and  in  the 
high  renaissance  frequently  finished  off  with  an  orna- 
mental carved  and  painted  stretcher  to  hide  the  other- 
wise empty  space,  (fig.  138). 

The  predilection  for  such  a primitive  object  of  furni- 

’)  In  inventories  they  are  far  more  numerous  than  all  other 
pieces  of  furniture,  Vide  Bode,  p.  29  and  sequ,  figs.  4,  5 
and  35. 


ture  as  the  coffer,  which  yet  allowed  of  so  manifold  a 
use,  was  traditional  since  the  middle  ages  and  primi- 
tive forms  as  self  - understood  and  purposeful  as  were 
the  simplest  form  of  architecture  for  tables  and  bedsteads, 
cupboards  and  chairs.  But  it  was  just  this  almost  as- 
cetic plainness  which  constituted  the  postulate  for  its 
development1).  For  here  no  traditional  form  of  expres- 
sion derived  from  a different  feeling  for  style  stood  in 
the  way,  when  motives  of  monumental  architecture  were 
taken  over  and  changed  in  accordance  with  the  new 
task  and  material.  Moreover  the  custom  of  a plain  but 
solid  performance  was  a preservative  against  the  danger 
of  a too  rapid  growth  of  rich  or  even  overdone  forms 

and  flamboyant  or- 
namentation , before 
the  single  types  of 
furniture  had  devel- 
oped into  a shape 
best  suitable  to  their 
respective  purposes. 

Materials 

Different  sorts  of 
wood2)  were  used  in 
Italy  at  that  time. 
Chestnut,  elm  and 
poplar  were  employ- 
ed for  ordinary 

])  Schiaparelli  says  (in  the  work  cited  above  p.  23  and  sequ). 
that  till  1384  fixed  measurements  were  prescribed  by  the 
Florence  guild  of  cabinet-makers  for  the  single  types  of  furni- 
ture. I he  employment  of  different  woods  and  the  application 
of  profiled  mouldings  which  would  have  rendered  difficult  the 
presence  of  veneer  being  seen,  were  prohibited.  Previous  to 
being  painted  or  mounted  with  woven  stuffs  or  leather  (only 
ass’s  leather  was  permitted)  a guild  foreman  closely  exam- 
ined the  pieces  of  furniture.  Permission  to  make  it  other- 
wise than  according  to  prescribed  rules  (called  extralegali  or 
isfoggiati)  was  only  granted  against  payment  of  a certain  tax. 
This  became  more  and  more  the  fashion  in  elegant  house- 
holds for  as  early  as  1418,  veneered  furniture,  decorated  with 
mouldings  and  intarsias  are  mentioned  in  one  inventory.  The 
plain  pieces  of  furniture  (called  regolati)  were  removed  into 
the  top  story,  or  the  servants’  rooms,  or  sold  to  more  humble 
citizens.  In  the  country  they  probably  were  preserved  longest, 
as  we  may  infer  from  inventories  of  the  XVth  century  in 
which  they  are  designated  “selvatico”.  Decisive  for  this  evo- 
lution was  the  discovery  of  the  saw-mill  in  the  XIVth  century 
and  consequent  upon  it  a most  important  constructive  inno- 
vation was  introduced  in  the  XVth  century,  namely  the  forming 
of  furniture  out  of  framework  and  fillings,  a circumstance 
which  Schiaparelli  omitted  to  mention.  Carpentry  was  now 
supplanted  by  cabinet -making,  dove -tailing  came  also  into 
use  at  that  time  (fig.  19)  vide:  Robert  Schmidt,  as  cited  above, 
pp.  38 — 40,  46  and  70 — 72) ; and  J.  Brinckmann,  Hamburgisches 
Museum  fiir  Kunst  und  Gewerbe,  description  of  furniture  and 
wood-carving,  pp.  3—9. 

2)  No  account  is  taken  here  of  furniture  made  of  other 
materials,  such  as  iron  bedsteads,  lamp-brackets,  washhand 
stands  (figs.  51  and  58)  or  marble  tables  and  marble  wall- 
basins  (figs.  536 — 7). 


11.  Andrea  della  Robbia  (?):  Relief  in  Coloured  Glazed  Terra  Cotta 

Formerly  A.  v.  Beckerath’s  Collection,  Berlin 


XVI 


furniture,  and  also  for  the  ground-work  of  intarsias. 
Pitch-pine , stone-pine , cypress , yew-tree  and  ash  were 
more  highly  valued,  but  the  highest  esteemed  and  most 
frequently  chosen  material  for  costly  objects  was 
the  hard,  dark-toned  walnut,  especially  since  the  age 


12.  Rome  about  1475.  Marble  Altar  Balustrade 

Kaiser  Friedrich-Museum,  Berlin 

of  the  High  Renaissance  when  people  had  come  to 
know  that  the  noblest  effects  are  obtained  by  the  material 
itself,  and  not  merely  by  the  employment  of  colours 
and  inlays.  It  is  true,  even  at  that  time,  both  wood  and 
gilding  of  single  parts  of  the  furniture  were  painted 
over  with  transparent  colours,  in  order  to  bring  about 
a complete  harmony  of  the  whole.  But  this  transparent 
colouring  did  not  conceal  the  grain  of  the  wood,  which, 
in  truth,  is  its  soul;  and  well  preserved  pieces  of  this 
kind,  with  the  lustreless  polish  of  the  wax -coating, 
possess  most  of  the  beauty  of  antique  bronzes  hoary 
with  lovely  patina *). 

In  the  early  part  of  the  epoch  panelling,  chests, 
bedsteads,  and  other  articles  of  furniture  were  decorated 
with  coloured  paintings  or  intarsias,  or  the  fronts  of  the 
coffers  were  ornamented  with  flat  stucco-reliefs  either 
entirely  gilded  over,  or  partly  painted  in  colours2).  It 
may  be  that  this  technique  was  originally  a substitute 
for  the  more  costly  gilt-enamelled  copper-plates  of  the 
Holy  Shrines.  Stuff  and  leather  mountings  seem  also 
to  have  been  of  frequent  use  in  earlier  times;  in  later 
ones  when  employed  at  all,  it  was  only  for  the  facings  of 
the  chests.  But  as  a covering  for  upholstered  seats 

')  In  many  cases  this  effect  is  barbarously  spoiled  either 
by  injudicious  restoration  or  by  varnishing'  the  objects  over. 

2)  This  technique  was  longest  preserved  in  Venice,  where 
it  was  employed  together  with  narrow  arabesque  ornaments 
on  a blue  ground,  as  late  as  the  middle  of  the  XVIth  century. 
Casts  were  first  made  and  the  forms  then  only  touched  up 
where  it  seemed  necessary,  this  is  proved  by  the  recurrence 
of  the  same  design  on  different  chests.  (Vide:  77,  also  Schub- 
ring,  Cassoni,  p.  229,  No.  44  and  p.  232,  No.  62.) 


these  materials  have  gained  an  always  increasing  import- 
ance since  the  XVIth  century ; previous  to  this  epoch, 
chests,  benches,  and  chairs  were  simply  spread  over  with 
stuffs,  or  cushions.  Ornamentation  by  means  of  intarsia 
work,  known  as  early  as  the  XIVth  century,  which  de- 
veloped into  richer  forms  after  1450,  denotes  a progress 
towards  a right  treatment  of  the  material1).  Originally 
the  artists  merely  availed  themselves  of  the  contrast 
between  the  dark  brown  ground  and  the  light  inlay, 
employing  geometrical  forms  only ; afterwards  heraldic 
forms,  bands,  festoons,  chandeliers,  cornucopiae  and 
vases,  arabesques  with  masks  of  animals,  cherubs  and 
fabulous  beings  became  popular.  The  employment  of  dif- 
ferent kinds  of  wood,  either  in  their  natural  colours  or 
dyed,  afforded  a modest  scale  of  colours  between  yellow, 
grey,  green,  brown  and  black;  but  it  was  just  this  limit- 
ation which  stimulated  the  imagination  of  the  artists  ; 
and  when  the  striking  effect  obtained  by  simple  per- 
spective foreshortening,  and  the  suitableness  for  intarsia 
motives  of  this  kind  was  recognised,  this  art  soon  at- 
tained a quite  peculiar  florescence 2).  Figural  represen- 
tations now  alternated  with  landscapes  and  pictures 
of  open  cupboards  containing  all  sorts  of  objects;  and 
it  was  precisely  this  still  life,  — the  first  since  the 
classic  period  — which  enjoyed  a general  favour  on 


13.  Rome  about  1475.  Marble  Altar  Balustrade 

Kaiser  Friedrich-Museum,  Berlin 


account  of  its  surprising  realism  (figs.  154 — 5).  Most 
of  such  representations  are  to  be  found  on  church  furni- 

*)  Vide:  Demetrio  Carlo  Finocchetti:  Della  scultura  e tarsia 
in  legno  dagli  antichi  tempi  ad  oggi  (Annali  del  Ministero  di 
Agricoltura,  Industria  e Commercio).  Firence  1873,  with  a 
detailed  register  of  the  best  known  wood-carvers  and  intarsia- 
makers.  pp.  289 — 306. 

2)  Benedetto  Dei,  in  his  chronicle  (about  1474)  mentions 
the  existence  of  eighty-four  wood-carvers’  and  intarsia-makers’ 
workshops  at  that  time  in  Florence  (Schiaparelli,  in  the  above 
cited  book,  p.  243). 


2. 


XVII 


ture,  such  as  choir-stalls  and  lecterns;  in  private  houses 
they  were  of  less  frequent  employment,  being  chiefly 
restricted  to  panelling  and  the  profiles  of  chests.  The 
most  beautiful  profane  work  of  this  kind  is  handed  down 
to  us  in  the  already  mentioned  study  of  Federigo  Monte- 
feltro  in  Urbino;  the  finest  ornamental  intarsias  existing 
are  perhaps  those  of  the  Collegio  del  Cambio  in  Perugia, 
and  some  few  others  in  divers  Florentine  churches  (fig.  195). 

Intarsia1)  may  be  considered  as  an  intermediate  stage 
between  the  painted  ornament  and  architectural  decor- 
ation. It  bears  some  relation  to  wood- 
carving where  it  fills  the  surfaces  with 
storied  reliefs;  on  the  other  hand  it 
tends  nearer  towards  architecture 
where  it  avails  itself  of  masks,  hermae, 
egg-moulding  and  cartouches.  Pain- 
ting, intarsia  and  wood-carving  did 
not  follow  one  another  chronologically, 
but  were,  for  a long  time,  of  con- 
comitant occurrence.  But  painting 
and  intarsia  existed  already  at  an 
earlier  period  and  disappeared  at  the 
time  when  architectural  and  sculptural 
ornamentation  developed  into  more 
rich  and  suitable  forms.  Profiled  top 
and  base  mouldings  on  cupboards  and 
chests  were  the  first  step  made  in 
this  direction.  They  were  of  common 
use  for  all  inlaid  and  painted  coffers 
in  the  true  renaissance  style;  but  in 
the  course  of  this  epoch  richer  modi- 
fications of  these  horizontal  divisions 
gradually  developed ; as  also  in  the 
vertical  ones,  favoured  by  the  frame- 
construction  2),  the  supporting  parts 
being  brought  into  prominence  by 
lending  these  the  form  of  pilasters, 
hermae,  and  columns.  Later  on, 
consoles  occasionally  found  favour  in 
tables  and  cupboards  below  the  pro- 
jecting tops,  or  classic  forms  of  en- 
tab'ature  were  applied  in  free  imitation.  The  uprights, 
tables  and  chairs  gained  in  richness  and  expression,  their 
forms  becoming  more  harmonious  and  stately.  Figural  and 
ornamental  carvings  were  not  at  all  rare  in  the  XVIth  cen- 
tury; the  most  precious  pieces  of  furniture  of  that 
period,  however,  were  not  the  richest  in  decoration,  but 

*)  A variety  of  intarsia  work  in  Upper  Italy  is  known  as 
Certosina,  where,  instead  of  dyed  woods,  whete  tinted  bone  inlays 
were  employed  in  stars  and  circles,  of  manifold  variations 
and  in  ever  recurring  motives:  as  isolated  ornaments  they 
are  found,  in  chair  frames ; to  a richer  effect  they  were  com- 
bined as  diapers,  peacock  feathers  and  foliage  on  the  lids  and 
sides  of  chests.  The  name  suggests  that  the  environs  of  Pavia 
gave  life  to  this  peculiar  technique;  to-day,  however,  one  is 
rather  inclined  to  think  that  it  was  Venice,  on  account  of  the 
unmistakable  influence  of  Islamic  Art  (figs.  403 — 4 and  86 —88). 

-)  Vide:  p.  XVI  right  hand  column,  Note  1. 


those  which  through  their  noble  proportions  and  beauty 
of  workmanship  revealed  the  high  cultured  taste  of  this 
flourishing  age.  Still  as  late  as  the  XVIIth  century, 
furniture  of  an  austere  simplicity  was  made  in  some 
parts  of  Italy,  which,  apart  from  their  decoration,  betray 
the  late  period  of  their  birth  by  their  weighty  massive- 
ness. Even  in  the  baroque  age,  when  all  forms  were 
assimilated  to  the  curved  line  of  the  contemporary 
style,  Italian  furniture  preserved  all  the  important 
characteristics  for  artistic  effect. 

The  Chest  or  Coffer 

Coffers  are  nowadays  often  known 
by  their  Italian  name  “Cassone”,  but 
during  the  Italian  Renaissance,  they 
were  sometimes  called  “forziere”1). 
Forziere  means  chest  or  box,  and  up 
to  the  XVIth  century  one  and  the 
same  chest  may  have  served  both  for 
the  home  and  to  take  on  journeys 
to  serve  the  purpose  of  a box,  a seat 
and  a bedstead.  But  a differentiation 
according  to  the  condition  and  the 
wealth  of  the  owner  must  have  been 
attempted  at  an  early  period.  The 
chief  requirement  of  a “travelling 
box”  was  strength , therefore  it  had 
to  be  plain  in  form  and  make,  while 
a more  elaborate  shape,  and  decor- 
ations liable  to  be  damaged  could  be 
allowed  on  chests  determined  for  home 
use  only.  Special  types  were  here 
developed  according  to  the  special 
purposes  required;  the  low  chest 
which  merely  served  as  a box,  was 
provided  with  a raised  decorated  lid  2), 
the  high  table-chest  had  a flat  top. 
The  chief  object  of  the  bench-chest 
was  to  afford  a comfortable  seat ; but 
at  the  same  time  it  was  still  a box, 
though  part  of  the  seat  could  be  raised.  Among  such 
chests  which  before  all  were  to  serve  as  boxes,  the 
so-called  bridal  coffers  were  the  most  richly  decor- 

J)  Paul  Schubring,  who  in  his  great  work:  Cassoni,  Truhen 
und  Truhenbilder  der  italienischen  Renaissance  (Leipzig,  1915) 
treats  of  this  matter  and  especially  gives  a fundamental  and 
exhaustive  account  of  chests  and  chest  ornamentation  in  their 
bearing  on  the  general  history  of  civilisation,  expresses  the 
opinion  that  in  the  Quattro- and  Cinquecento  the  term  Cassone 
was  mostly  used  (pp.  13  and  sequ),  while  Schiaparelli  (in  his 
above  cited  work  pp.  294  and  seq),  admits  the  name  forziere 
for  all  kinds  of  coffers,  and  cassone  only  for  the  tall  table-chest. 

2)  The  interiors  of  the  chests  were  frequently  lined  with 
woven  stuffs,  and  inside  the  lids  were  sometimes  ornamented 
with  paintings.  Schubring  says  that  of  600  chests  which  he 
examined,  400  had  interior  fittings;  occasionally  they  were 
provided  with  complicated  secret  places. 


14.  Later  part  of  the  XVIth  Century, 
Painted  Linen  Wall  Hanging 

Kunstgewerbe-Museum,  Frankfort  on  the  Maine 


XVIII 


ated  ').  They  usually  contained  the  outfits  of  the  young 
married  couple,  their  decoration  frequently  bore  some 
relation  to  the  festal  event;  as  for  instance  the  armorial 
bearings  of  the  young  pair,  legendary  representations 
such  as  the  judgment  of  Paris,  or  the  Rape  of  Helena, 
and  even  the  wedding  ceremony  itself  were  sometimes 
pictured. 

The  most  ancient  coffers  were  similar  to  oblong,  four- 
cornered  boxes  (figs.  69  and  73).  Most  of  them,  especi- 
ally the  travelling  ones, 
were  mounted  with  strong 
iron  bands  which  some- 
times were  painted  over; 
on  both  ends  they  were  prov- 
ided with  iron  handles* 2). 

Afterwards,  in  the  XVth 
century , a form  slightly 
receding  at  both  ends, 
came  into  vogue,  whose 
softly  curved  ground  line 
vibrates  like  the  rhythm  of 
a gothic  line  (fig.  89). 

During  the  renaissance  this 
motive  was  more  strongly 
accentuated  and  in  the 
XVth  and  XVIth  centuries 
it  is  also  occasionally  met 
with  in  chests  curved  on 
one  side  only,  namely  when 
it  was  destined  to  be  placed 
near  a door,  and  therefore 
seemed  to  require  this  form 
(fig.121).  This  curved  shape 
grew  in  importance  for  it 
allowed  of  sitting  com- 
fortably upon  it;  this 
pleasing  turn  being  soon 

')  The  most  magnificent 
chests  were  placed  on  low 
pedestals  which,  in  proportion 
and  contour,  formed  their 
architectonic  complement.  For 
travelling  purposes  they  were 
covered  with  special  cases  to 
protect  them  from  wear  and  tear,  such  as  the  bridal  coffers 
of  the  Lady  Paola  Gonzaga  (Schubring  pp.  355  and  sequ). 

2)  The  employment  of  handles  was  customary  also  on  richer 
chests  up  to  baroque  period,  and  is  even  met  with  on  cup- 
boards. The  key-hole  was,  as  a rule,  roughly  cut,  and  with- 
out ornament.  Only  since  the  middle  of  the  XVIth  century 
it  frequently  took  the  form,  on  richly  carved  chests,  of  a gor- 
gon’s  mouth.  The  keys,  on  the  contrary,  already  in  earlier 

times,  were  richly  adorned,  gothic  motives  being  in  vogue 

far  into  the  age  of  the  Renaissance  (fig.  17).  The  metal 
mounts  on  the  outer  and  inner  side,  especially  in  the  North 
of  Italy,  frequently  served  as  ornaments,  (fig.  18).  In  Upper 
Italy  they  are  always  fixed  into  the  wood,  sometimes  over  a 
coloured  ground  which  rendered  conspicuous  its  fine  pierced 
work ; on  the  other  side  of  the  Alps  such  metal  decorations 
were  applied  plastically. 


given  even  to  such  coffers  as  were  exclusively  used  as 
boxes.  The  profiles  became  more  and  more  accentuated 
during  the  renaissance , the  upper  curve  below  the  lid 
was  less  round  than  the  lower  one,  but  they  were 

in  perfect  harmony;  the  horizontal  parts  were  distinctly 
separated  from  each  other  and  rendered  more  and 

more  conspicious  by  profiled  mouldings  until  finally 

a form  resulted  which  to-day  is  considered  as  typical 
for  the  sarcophagus  (figs.  91 , 81,  124,  134 — 5,  140). 

The  marble  coffins  of  the 
early  renaissance,  however, 
were  like  plain  boxes,  simi- 
lar to  the  chest  of  that 
period,  and  the  trans- 

formation, under  the  in- 
fluence of  classic  models, 
simultaneously  took  place 
in  monumental  stone  work, 
and  in  wood  furniture,  the 
plain  early  form,  however, 
never  being  quite  aband- 
oned *). 

Painting,  being  the  ear- 
liest kind  of  adornment, 
and  also  the  later  manner 
of  decoration  by  means 
of  gilt  or  painted  stucco  re- 
liefs2) are  principally  found 
on  chests  with  rectilinear 
contours  (figs.  74  — 77). 
The  same  may  be  said  of 
the  wood-engravings  pasted 
on  to  the  fronts  of  the 
chests  which,  slightly  co- 
loured, often  imitate  the 
patterns  and  the  effect  of 
intarsia  work.  This  art  was 
sometimes  practised  in 
Lombardy  3).  Paintings  and 
stucco  reliefs  in  early  times 
were  often  mere  imitations 
of  stuffs  which  in  the  late 
middle  ages  frequently 
served  as  mountings  or  coverings  for  chests.  This  be- 
comes particularly  manifest  where  stencilled  quadratic 
motives  are  repeated  over  and  over  again  (fig.  73).  In 
the  course  of  the  XVth  century  the  painted  board  and 

')  Figs,  to  be  seen  in  Baum’s  work  cited  above  pp.  223 
and  seq.  — Vasari,  in  his  Vita  Dello  Delli  (Milanesi  II,  p.  148) 
speaks  of  the  painting  on  large  wooden  chests  as  “a  uso  di 
sepolture”,  and  Schubring,  in  the  above  cited  work  (p.  5)  says 
that  he  found  in  a long  chest,  the  body  of  a knight. 

2)  Vide  p.  XVII.  1. 

’)  Illustration  in  the  above  cited  work  of  Schubring,  Plate 
No.  CLV.  Fragments  of  large  woodcuts  of  Loinbardic  origin 
show  that  probably  this  technique  was  employed  in  Lombardy 
to  imitate  wall  paintings,  that  is  to  say,  they  may  be  called 
the  first  paper  hangings. 


15.  Tuscany  1585.  Bronze  Lamp 

Cathedral,  Pisa 


XIX 


reliefs  became  more  and  more  popular.  Large  and 
connected  representations  frequently  filled  the  front  of 
the  chest,  or,  better  said,  its  middle  field,  (fig.  96)  for 
the  independency  of  the  decoration  and  the  new  natural- 
ism of  depiction  urged  the  employment  of  an  efficacious 
framework.  Therefore  the  architectural  construction  of 
the  chest  was  not  alone  determined  by  its  use  but  at 
the  same  time  corresponded  to  the  new  art  of  painting1 2 3). 
Such  chests  ornamented  with  intarsias  (figs.  90,  92,  94,  95) 
were  divided  off  into  several  fields  and  in  Upper  Italy, 
about  1500,  only  small  paintings  were  inserted  in  the 
plastically  carved  fronts  (figs.  83,  84).  It  was  quite 
otherwise  with  the  later  Bolognesian  cupboards  on  which 
intarsias  were  imitated  by  inserted  bright-lined  stucco 
work.  In  these  the  fronts  are  ornamented  with  a charm- 
ing acanthus  motive 
throughout  the  entire 
surface  (fig.  113). 

Wood-carving  on 
chests  was  in  com- 
mon use  already  dur- 
ing the  middle  ages, 
and  numerous  ex- 
amples of  furniture 

ornamented  with 
gothic  motives,  ge- 
ometrical rosettes 
and  figural  represen- 
tations done  in  chip 
or  flat  carving  have 
come  down  to  us, 
especially  fromUpper 
Italy-),  (figs. 99,100). 

The  latter  at  times  remind 
printing.  The  effectful  high 
to  express  architectonic  purpose, 
renaissance. 

Chests  were  then  ornamented  with  wood -carving 
of  manifold  designs.  The  ends  were  emphasised  by 
diagonally  placed  figures,  the  fronts  by  pillars,  hermae, 
masks,  gorgons,  harpies,  and  other  mythological 
beings,  amorettes  and  chained  warriors,  (figs.  112, 
116  — 118,  132  134):!).  Luxuriant  foliage  and  tendrils 

covering  the  entire  surface  of  the  chest  accentuate  its 
horizontal  form  or  perpendicular  reeds  strive  with  every 


16.  Bronze  Door  Knockers.  Venice  about  1575. 


us  of  wood  blocks  for 
relief,  however,  intended 
a creation  of  the 


')  Here  the  question  need  not  be  discussed  as  to  how  far 
the  renaissance  pictures  inserted  in  chests  and  panelling  inter- 
rupted by  its  illusion  of  space,  the  unity  of  the  whole  surface 
of  the  pieces  of  furniture  and  the  panelling.  In  any  case 
they  were  more  in  keeping  with  the  monumental  rooms  of 
the  renaissance  than  with  those  of  the  present  age.  Still  it 
is  characteristic  for  the  severe  artistic  taste  of  the  High  Re- 
naissance that  painted  chests  gave  way  more  and  more  to 
carved  ones. 

2)  See  Lehnert,  Vol.  I,  pp.  402  and  seq.  and  Robert  Schmidt, 
pp.  70-71. 

3)  Figural  ornamentation  of  old  triumphal  arches  are  chiefly 
found  on  Roman  chests. 


force  upwards  against  the  power  of  the  horizontal,  again 
long  curved  flutes  voice  the  swinging  curves  (figs.  108, 
123,  124). 

Architectural  stone  forms  such  as  metopes  and  trig- 
lyphs are  applied  to  the  fronts,  not  used,  as  in  classic 
times,  to  give  the  impression  of  beams,  but  remodelled 
for  the  purpose  of  having  forceful  decorative  fillings 
(fig.  102) 

Or,  the  chief  accentuation  is  in  the  centre  where  it 
takes  the  form  of  an  ornamental  shield  or  some  other 
emblem  as  a relief  to  the  surrounding  plain  surface 
(fig.  106  and  112).  Finally  the  figural  reliefs  seem  like 
those  pictoral  stones  taken  mostly  from  ancient  history 
and  sagas  found  on  Roman  chests  of  the  XVIth  century 
(figs.  125 — 132).  But  these  fillings  almost  always  find 

their  necessary  equi" 
poise  in  a strong 
accentuation  of  the 
architectonic  articu- 
lation, by  free  plastic 
ornamentation  at  the 
corners,  and  the  deep 
shadow  effect  of  the 
rich  framework.  This 
type  of  chest  earliest 
found  favor  with  col- 
lectors. But  those 
coffers  of  the  XVIth 
century  possess  more 
inner  charm  where  a 
simple  motive,  such 
as  dividing  the  front 
into  fields  of  a dif- 
ferent size,  has  been  developed  to  a most  noble  harmony  of 
the  whole,  or  where  the  rhythm  of  the  parts  and  the 
delicate  outlines  with  their  narrow  decorative  lines 
accord  with  one  another.  But  these  delights  can  only 
be  felt  by  the  connoisseur  (figs.  93  and  101).  Another 
variety  of  distinguished  furniture  is  the  so-called  treas- 
ure box ')  which  developed  on  pretty  much  the  same 
lines  as  its  bigger  sister.  The  small  box  usually  had 
its  place  on  tables  or  chests,  it  never  served  as  a seat, 
therefore  rarely  had  a flat  lid.  The  earliest  have  mostly 
pointed  ones;  these  seem  copies  of  small  Reliquaries, 
in  imitation  of  the  bone  ornamentation  frequently  made 
by  the  Embriacchi,  a family  of  artists  in  the  XIVth  cen- 
tury -),  the  surfaces  were  covered  with  bright  coloured 
reliefs  made  of  rice-paste  (pasta  di  riso)  (figs.  142  and 

J)  This  seems  to  have  served  many  purposes,  vide  Bode  p.  9. 
Schubring  (pp.  14  and  211)  shows  that  articles  of  gold  and 
silver  and  also  money  were  boarded  in  the  big  chests  kept 
in  the  bedrooms.  Ludwig  pp.  304 — 5 maintains  that  valuables 
were  treasured  in  heavy  iron-plated  chests  (scrigni)  fig.  18 
and  considered  the  jewel-chests  to  have  been  at  the  same 
time  both  for  jewelry  and  toilette  necessaries,  in  Italy  known 
as  casselle  di  banca  da  letto,  in  a way  corresponding  to  the 
present  day  night-commodes. 

2)  Vide  Schubring  pp.  211  and  sequ. 


XX 


following).  The  designs  are  often  the  same  as  those 
of  the  paintings  and  stucco  work  on  the  coffers.  The 
carved  oak  boxes  with  broadly  moulded  profiles  and 
slightly  raised  lids  are  of  a later  date  (figs.  146, 148, 149). 
The  ornamentation  is  the  same  as  that  on  chests  and 
dressers ; in  the  XVIth  century  in  order  to  obtain  a richer 
effect,  colored  marble  slabs  were  sometimes  inserted 
(fig.  147). 

Cassapanca  and  Throne 

As  panelling  was  not  common  in  dwelling  houses, 
from  the  earliest  time  the  need  of  wooden  backs  for 
chest-seats  must  have  made  itself  felt.  In  this  way  the 
bench-box  came  into  existence  and  from  this  in  the 
XVth  century  developed  the  throne  by  adding  arms  and 
building  up  the  back  sup- 
port architecturally;  a few 
decades  later  came  the 
cassapanca,  that  is  a box- 
settle.  In  the  older  type 
of  cassapanca  the  back  and 
arms  were  of  a like  height. 

By  this  the  horizontal  is 
strongly  accentuated  and 
the  entire  effect  much  more 
imposing  than  that  of  the 
chest;  all  the  more  so  as 
the  measurements,  both  in 
height  and  breadth  are 
larger.  Placed  as  it  was 
in  the  middle  of  the  long 
wall  and  clearly  propor- 
tioned, the  architecture  of 
the  cassapanca  must  have  conveyed  a monumental  impres- 
sion. The  oldest  among  those  still  in  existence,  that  is,  of 
the  XVIth  century  (fig.  187, 188),  are  of  an  austere  form, 
with  sparse  decoration,  whose  beauty  consists  in  their  noble 
proportions  and  an  apparently  easy  solution  of  the  task  on 
the  part  of  their  makers.  For,  as  the  name  implies,  the  cassa- 
panca was  a coffer  and  a seat  at  the  same  time ; being 
covered  over  with  cushions  and  rugs  it  became  the 
forerunner  of  the  sofa,  and  from  pictures  we  know  that 
it  occasionally  did  duty  as  a bed.  The  step  was  a na- 
tural evolution.  The  lower  curve  taken  over  from  the  chest 
was  felt  as  an  incongruity,  so  the  straight  perpendicular 
line  of  the  arms  was  continued  to  the  floor;  or,  as 
another  expedient,  the  rhythm  of  the  lower  end  curve 
was  repeated  on  the  inner  front  of  the  arms  (fig.  186). 
In  addition  to  a modest  amount  of  carving  — especially 
on  the  front  — intarsias  laid  in  small  inconspicuous  lines, 
were  also  used  as  ornamentation  on  these  severe  types 
of  cassapanche.  Then  in  the  course  of  the  XVIth  cen- 
tury these  also  grew  much  more  elaborate  by  enriching 
them  with  sculptured  decorations.  The  back  was  crown- 
ed at  times,  with  a strongly  defined  ornament,  a coat 
of  arms  or  freely  conceived  figures.  The  arms  were 


deeply  curved  in  front  and  the  socles  sharply  drawn  in. 
In  some  cases  these  have  a disturbing  effect;  and 
compared  to  the  ornamental  harmony  of  like  values 
shown  in  those  of  a more  simple  character,  they  appear 
overladen  and  a deterioration  of  former  good  taste. 
But  where  the  ornamentation  — superbly  developed  — 
is  restricted  to  some  of  the  parts  and  held  in  restraint 
by  the  rhythm  of  the  architecture,  the  cassapanca  of  the 
high  renaissance  symbolizes  the  ideal  in  form  of  this 
period;  the  impact  of  passionate  energies  (figs.  184, 193). 

In  those  days  the  term  throne  was  not  limited  to 
the  princely  seat  with  over  towering  baldachin,  but  com- 
prised also  the  chairs  of  the  master  and  mistress  of  the 
house,  distinguished  by  their  size  and  richness  of  orna- 
mentation. As  opposed  to  the  cassapanca  the  back  of 

the  throne  was  much  higher 
and  naturally  built  up 
architectonically.  In  the 
XVth  century  this  was  res- 
tricted to  side  pilasters 
with  moulded  cornices  and 
the  centre  ornamented  with 
intarsia  work.  Sometimes 
the  seat  is  cornered,  or 
finished  off  quite  separately 
(figs.  172, 176)  and  the  pro- 
portions between  the  seat 
and  the  back  are  not,  even 
in  ceremonial  ones,  such 
as  the  throne  of  Filippo 
Strozzi  (now  in  the  Roth- 
schild collection  , Paris)  '*) 
of  that  harmony  and  force- 
fulness to  be  found  on  the  few  later  cassapanche.  Here 
too  the  concord  was  first  found  in  the  high  renaissance. 
Arms  were  added,  then  the  pillars  above,  making  a 
projecting  entablature  and  cornice  necessary.  In  this 
way  the  seat  was  firmly  enclosed  in  an  appropriate 
frame.  Moreover  the  upper  part  of  the  back  was 
divided  off  by  pilasters  and  like  other  pieces  of  furniture 
ornamented  with  carving. 

The  bishop’s  throne  was  the  progenerator  of  the  throne. 
In  Italy  in  a half  gothic  form  it  had  already  found  its 
way  at  the  beginning  of  the  renaissance'  ).  It  is  character- 
istic that  it  had  its  place,  as  late  as  the  XVIth  century, 
in  the  bed-chamber,  for  this  served,  at  the  same  time, 
the  purpose  of  a reception  room  (fig.  41). 

Cupboards  (Credenze) 

Cupboards  are  here  meant  to  include  dressers,  side- 
boards, cabinets  and  other  receptacles,  with  the  exception 
of  chests,  for  the  preservation  of  precious  things. 

')  Bode  Plate  XIII. 

2)  This  may  be  seen  on  a predella  picture  by  the  Carrand 
Master  in  the  Museo  Buonarroti,  Florence. 


17.  Cupboard  and  Chest  Keys 

Kaiser  Friedrich-Museum,  Berlin 


XXI 


In  the  middle  ages  cupboards  were  only  to  be  found 
in  sacristies,  civic  halls,  and  guilds;  in  ordinary  homes 
their  place  was  supplied  by  chests,  niches  or  simple 
shelves  with  stuff  hangings  to  conceal  what  was  behind 
them  from  view.  Cupboards  in  private  homes  appear 
to  have  been  derived  from  the  praying-desk  present  in 
all  bed-chambers ; they  first  made  their  appearance  in 
the  XVth  century,  and  were  of  varying  shapes  accord- 
ing to  the  use  they  were  meant  to  serve.  But  the 
chest  was  still  preferred  to  store  linen,  cushions,  cover- 
lets and  clothing,  and  at  times  also  for  costly  treasures1 2); 
but  vessels  and  other  articles  of  household  use  were 
kept  in  dressers,  or  two-storied  cupboards. 

Soon,  the  upper  part  was  divided  off  into  several 
compartments,  some  rounded  off  with  doors,  others  with 
drawers,  a downdrop  hiding  the  contents  of  this  small 
world.  So  the  cabinet  arose,  which  in  the  XVIth  cen- 
tury was  also  in  favour  north  of  the  Alps.  In  it  were 
guarded  documents  and  other  articles  of  value;  in  ex- 
ceptional cases  they  were  used  as  writing-desks  and 
bureaus-).  A fourth  type  was  the  bookcase,  (libreria) 
the  upper  part  of  which  was  sometimes  ornamented  with 
tracery  carving  or  composed  of  shelves  built  architecton- 
ally 3)  (fig.  270). 

Dressers  or  sideboards  are  much  more  varied  both 
as  to  size  and  construction,  than  chests ; a single  glance 
convinces  us  that  their  proportions  were  determinative  for 
their  manner  of  treatment.  Together  with  broad  simple 
or  almost  robust  forms,  looking  like  ponderous  socles 
placed  along  the  walls  (figs.  201  , 202  and  240),  there 
are  such  of  a quite  narrow  almost  pilaster-like  shape 
supported  by  lions  claws,  which  seem  to  negative 
the  character  of  their  heaviness  (figs.  214,  221).  In 
other  structures  broad  or  narrow  in  their  proportions, 
lying  between  these  two,  either  an  attempt  has  been 
made  to  convey  the  illusion  of  restful  massivity  by  a 
coarse  treatment  of  the  forms  and  profiles,  or  to  bring 
about  a solution  of  the  plane,  a negation  of  ponderous 
space  filling,  by  a manifold  and  rich  ornamentation. 
The  rounding  off  of  the  corners  of  the  top  above  the 
carrying  body  and  the  relation  between  this  and  the  lower 
part  of  the  cupboard  are,  in  any  case,  of  importance 
for  the  entire  effect  (figs.  223  and  225).  In  cupboards 
of  a later  date  it  is  but  rarely  that  painting  has  a part 
in  its  decoration  (fig.  271)  and  only  very  seldom  are 

*)  Vide:  Schubring  p.  14. 

2)  Personally  I know  of  no  picture  which  can  prove  this 
assertion  and  the  very  numerous  paintings  and  engravings 
of  Evangelists,  either  reading  or  writing,  St.  Hieronymus  and 
other  Saints  — as  also  profane  writers  and  poets  — always 
show  them  sitting  at  tables  or  slanting  desks.  On  the  other 
hand,  Vasari  mentions  a “scrittoio”  which  from  the  descrip- 
tion given  must  have  been  a writing-cabinet.  For  this  rea- 
son in  the  illustration  reproduced  here,  the  more  common 
nomenclature  “bureaus”  has  been  retained. 

3)  The  most  beautiful  of  its  kind  is  in  reigning  Prince 
Lichtenstein’s  castle  at  Eisgrub  (Moravia)  vide  Bode : Plate 
XXIV. 


they  to  be  found  richly  ornamented  with  intarsia  work, 
narrow  friezes  of  inlays  framing  the  fields,  used  with 
the  utmost  circumspection,  being  much  more  frequent. 
By  the  time  sideboards  had  found  a place  in  the  home 
the  florid  joyousness  of  the  early  renaissance  had  al- 
ready given  way  to  a taste  more  directed  towards  the 
architectonic.  The  development  of  architectural  forms 
for  furniture  and  the  predominance  of  wood-carving  had 
become  the  rule  in  most  parts  of  Italy.  Only  the  socle 


18.  Chest,  Ornamented  with  Intarsias  and  Metal 
Mountings:  North  of  Italy  or  South  Tyrol 

Schloss-Museum,  Berlin 

and  top  were  accentuated,  while  the  panels  of  the  door 
were  marked  by  finely  drawn  profiles  and  narrow 
ornamentation  (figs.  203,  220). 

The  corners,  at  times  also  the  centres,  were  accen- 
tuated by  pilasters,  columns,  long  drawn  volutes  or  hermae 
sculpture  (figs.  205,  214,  224).  The  panels  and  other 
parts  were  covered  with  a severe  and  pure  surface  orna- 
mentation, or  they  were  framed  in  scroll  work  and  finish- 
ed off  with  a peculiar  sort  of  crown.  The  end  of  the 
XVIth  century  saw  an  accumulation  of  motives,  columns 
and  pillars  in  juxtaposition  to  one  another  (figs.  207,  217) 
and  in  the  rich  decorative  work,  masks,  other  distortions 
and  lions  heads  were  interwoven  with  one  another 
(fig.  233).  Consoles  were  placed  close  to  one  another 
in  rows  to  form  supports  for  the  top,  or  they  were  used 
in  rhythmic  alternations  to  accentuate  the  sides  and  the 
centre  (fig.  208).  Frequently  secret  places  were  hidden 
behind  these  pillars  and  the  decorative  work  running 
the  whole  length  beneath  the  top  of  the  cupboard. 
The  semicircular  knobs  and  the  small  rings  on  the  doors 
and  drawers  were  chiefly  of  bronze,  but  their  deep  patina 
fitted  well  to  the  warm  colour  tones  of  the  whole. 

The  two-storied  cupboards  are  as  a rule,  less  richly 


XXII 


decorated,  this  being  due  perhaps  to  their  having  been 
destined  for  anterooms  and  therefore  of  minor  impor- 
tance. In  these  cupboards,  the  relation  between  the 
upper  and  the  lower  parts  is  significant,  as  also  the 
manner  in  which  the  different  parts  lying  either  above 
or  next  to  one  another,  are  clearly  and  decisively  fused 
into  one  another  by  the  articulating  framework.  The 
decorative  forms  are  the  same  as  in  the  more  simple 
types  of  the  sideboard  or  dresser,  only  on  account  of 
their  being  taller,  the  top  is  both  broader  and  heavier 
(figs.  241—246,  255—257). 

An  enormous  amount  of  care  was  spent  on  cabinets. 
The  lower  part  is  not  always  an  enclosed  cupboard 
above  which  the  top  part  of  like  width,  or  somewhat 
narrower  is  built.  Sometimes  carved  console -like  side 
parts  with  smooth  back  walls  and  flat  tops  suffice  as 
supports.  This  is  shown  for  instance  in  the  Mantua 
cabinet  in  the  Victoria  and  Albert  Museum  in  London 
(fig.  259 — 261)  where  the  top  drawers  and  doors  are 
richly  decorated  with  inlaid  work.  Such  pictorial  dec- 
oration on  such  a simple  construction  is  a rare  excep- 
tion; another  rare  exception  is  a cabinet  contained  in 
the  Bardini  Collection,  sold  at  auction  in  1902  (Cata- 
logue Nr.  578)  which  has  its  lower  part  richly  orna- 
mented with  grotesques  on  two  panels,  the  drawers  of 
the  upper  part  have  flowing  ribbons  with  inscriptions 
made  in  intarsias.  The  latter  relief  types  are,  however, 
more  frequent.  Among  these  the  earlier  ones  from 
Tuscany  are  striking  by  their  calm,  severe  beauty.  They 
are  discreetly  ornamented  with  narrow  bands  or  merely 
with  architectonic  ornamented  forms  (figs.  262,  263).  But 
rich  carving  is  far  more  frequent.  In  Lombardian  furni- 
ture all  the  planes  are  covered  in  low  relief  (fig.  267) 
carried  out  in  perfect  symmetry ; or  this  then  almost 
generally  accepted  principle  is  boldly  set  aside  as  in 
the  Paul  III  cabinet  (fig.  264);  in  Lombardian  cabinets 
hermae  are  placed  on  the  smooth  central  panels  in 
order  to  accentuate  the  outward  edges  (fig.  265);  in 
Tuscany  ones  there  is  a crowd  of  almost  free  standing 
small  plastic  groups  of  figures  arranged  one  above  the 
other  below  the  top,  forming  a broad  and  disturbing 
console  (fig.  266).  The  edges  which  when  drawn  out 
support  the  low  turn-back,  are  also  ornamented  with 
like  groups.  The  virtuosity  of  the  wood  carvers  here 
celebrates  its  full  triumph;  but  the  quiet  perfect  effect, 
the  noble  harmony  of  the  Italian  cabinet  is  no  longer 
present  in  this  superabundance  of  decoration.  The 
desire  to  make  the  receptacle  of  precious  things  superb 
certainly  often  led  to  bad  taste.  It  is  this  flamboyant 
furniture  of  circa  1600  which  shows  a decisive  deterioration 
of  Italian  taste. 

Bedsteads 

Bed-chambers  and  their  most  important  articles  of 
furniture  have  been  repeatedly  painted  and  represented 
in  reliefs  (figs.  3 — 5 and  35 — 43).  The  Birth  of  the 
Virgin,  St.  John  the  Baptist,  the  Annunciation,  the  Mira- 


culous Healing  and  Ecstatic  Dreams  required  such  a 
setting.  By  means  of  such  depictions  we  know  exactly 
everything  concerning  the  renaissance  beds,  although  but 
few  of  this  period  have  come  down  to  us.  In  palaces 
and  the  homes  of  well-to-do  citizens  bedsteads  of  the 
XVth  century  were  built  rather  high  from  the  ground; 
the  legs  were  invisible  because  two  chests  were  placed 
close  together  at  either  side  and  sometimes  one  at  the 
foot,  forming  steps  to  make  getting  into  bed  easier, 


19.  Venice  after  1500.  Chest  with  Velvet  Mountings 

Arts  and  Crafts  Museum,  Leipzig- 


and  at  the  same  time  serving  as  sitting  accomodation '). 
They  were  always  shaped  like  simple  boxes  with  flat 
profiles,  but  where  money  was  no  object  to  their  owners, 
they  were  ornamented  with  intarsia  work  and  sometimes 
even  with  paintings* 2).  In  the  XVth  century  some  bed- 
steads had  long  boxes  of  almost  the  same  size,  called 
carriola  or  lettucino  under  the  bed,  which  could  easily 
be  drawn  out  at  the  foot  and  may  have  served  as  sofas 
by  day3).  As  a rule  the  bedstead  projected  far  into 
the  room,  the  head  being  placed  against  the  wall;  some- 
times the  whole  length  was  set  against  the  wall  or  it 
occupied  a niche*).  So  common  were  chest  steps  that 

*)  Examples  in  Palazzo  Davanzati  (fig-.  59)  and  in  the  Villa 
Palmieri  near  Florence  (Illustr.  in  Hunter’s  Work,  Plate  4). 

2)  In  inventories  painted  bedsteads  are  often  mentioned, 
there  is  one  in  the  Ospedale  del  Ceppo  in  Pistoia  (fig.  273). 

3)  Vide:  “L’Arte  e la  Casa”  in  Rassegna  d’Arte  antica  e 
moderna  VII  (1920)  p.  53,  in  which  a lettucino  on  a fresco 
in  Fossombrone  is  reproduced.  Bandello  mentions  this  lettu- 
cino in  his  5t!>  and  40 1,1  tales,  saying  that  such  were  in  use 
in  Tuscany.  It  also  appears  in  an  inventory  of  Bianca  Maria 
Sforza’s  dowry  and  is  mentioned  in  an  inventory  of  Count  di 
Challant  in  Val  d'Aosta.  The  lying-in  bed  and  cradle  must 
not  be  confused  with  the  carriola  (fig.  278). 

*)  This  may  be  seen  on  a picture  of  a confinement  by 
Carpaccio  in  the  Academia  Carrara,  Bergamo;  and  on  the 
painted  wooden  alcove  by  Frederigo  da  Montefeltro  in  the 
palace  of  Urbino  (vide  Schubring,  p.  340  No.  500)  where  the 
lower  part  seems  to  be  marble  and  the  upper  part  painted 
in  with  trees. 


XXIII 


even  Piero  della  Francesca  depicted  them  on  his  fresco 
in  Arezzo,  representing  Constantine’s  bed  in  his  war  tent. 

They  were  even  to  be  found  in  the  homes  of  the 
poorer  class,  although  the  bedstead  may  have  consisted 
of  nothing  but  a broad  plank  placed  on  two  wooden 
trestles  ’). 

The  head  of  the  bed  (superiore)  was  from  the  earliest 
times  always  higher  than  the  foot  (postergale)  and  in 
the  course  of  its  development  more  and  more  resem- 
bled the  back  of  the  family  state  chair  in  size,  arti- 
culation and  ornamentation.  In  this  way  it  became  a 
thing  for  itself,  while  before  it  must  have  been  like  the 
surrounding  chests  (figs.  38,  59).  During  the  XVIth  century 
the  head-board  was  carved,  the  design  being  sometimes 
repeated  on  the  foot  but  done  more  flatly,  or  a part 
of  the  superiore  resolved  itself  into  an  arcade  with 
gallery  (fig.  275). 

After  1500,  bed-steps  went  out  of  fashion  and  as  the 
sides  were  then  exposed  the  feet  were  also  carved  with 
balusters.  Sometimes  in  order  to  accentuate  the  corners 
they  towered  upwards  like  pillars  and  were  crowned 
with  pine  cones  (fig.  277).  The  banishing  of  the  bed 
chests  meant  that  the  bed  in  losing  its  broadness  now 
had  a scaffold-like  appearance.  But  the  artist-craftsman 
then  concentrated  his  attention  to  the  decoration  of  the 
tester  which  now  roofed  the  entire  bedstead,  this  was 
either  secured  to  its  framework  or  depended  from  a 
broad  ring  secured  to  the  ceiling'* 2). 

In  the  XVIth  century  the  four-cornered  framework  was 
freely  copied  from  marble  tabernacles,  with  finely  pro- 
portioned noble  columns,  entablatures  and  coffered 
testers.  Here  also  it  is  crowned  with  carved  figures2). 
We  know  that  other  types  also  existed,  a simple  frame- 
work entirely  mounted  in  velvet  or  some  other  costly 
material,  so  that  the  wooden  or  metal  parts  were  entirely 
hidden.  Sometimes  the  bed  curtains  are  adorned  with 
beautiful  embroidery  designed  by  some  famous  artist4). 
Exactly  in  such  bedsteads  their  appointments  are  of 
great  interest.  The  large  pillows  at  the  head  sometimes 
had  their  counterpart  at  the  foot3).  The  bed  linen  was 

J)  A singular  form  of  bed  has  been  handed  down  to  us 
in  a fresco  by  Domenico  di  Bartolo  in  the  Ospedale  S.  Maria 
della  Scala  in  Siena.  Here  the  bedsteads  take  the  form  of 
stretchers  the  sides  being  fixed  into  the  high-low  head  and 
foot,  so  that  the  handles  project. 

-)  See  fig.  41 , where  both  forms  are  shown.  When  the 
bedstead  occupies  nearly  the  whole  length  of  the  wall,  as  in 
Fra  Angelico’s  predella  picture  of  the  Miraculous  Healing  by 
St.  Cosmas  and  St.  Damian,  in  the  Academy  in  Florence,  a 
curtain  depends  from  a cornice  which  is  fastened  to  the  op- 
posite long  wall  of  the  room. 

3)  The  most  beautiful  bedstead  of  this  kind  is  in  Sodoma’s 
fresco:  The  Marriage  of  Alexander  and  Roxane,  in  the  Far- 
nese,  Rome;  Scarsellino’s  “Childbed”  (fig.  42,  43)  is  also  a 
remarkable  example. 

4)  Count  Sormanni  possesses  some  embroidery  from  a bed, 
supposed  to  have  been  designed  by  Pierino  del  Vaga;  it  was 
reproduced  in  the  Gazette  des  Beaux-Arts,  1876,  and  in  the 
Rassegna  d’Arte  p.  52. 

5)  Vide  Rassegna  d’Arte  p.  52. 


embroidered  of  one  colour,  either  a bright  one  or  with 
gold  threads  and  ornamented  with  lace  insertions.  A 
costly  coverlet  was  used  during  the  day  to  hide  the 
coloured  woollen  or  silk  bed -clothing.  The  repeated 
laws  against  excessive  luxury  seem  to  have  borne  little 
fruit.  It  must  not  be  forgotten,  that  the  bed,  like  the 
chest,  formed  part  of  the  marriage  dowry,  and  that 
ladies  of  high  birth  not  alone  received  their  guests  in 
their  bed-chambers,  but  also  reclining,  beautifully  dress- 
ed, on  their  beds. 

Tables 

Tables  are  often  delineated  in  pictures  of  the  Lord’s 
Supper  and  other  sacred  and  profane  subjects.  Most 
such  are  primitive  in  form;  being  merely  flat  boards 
supported  by  two,  sometimes  three,  trestles,  and  covered 
over  by  a tablecloth  ’).  Such  served  for  momentary 
use  for  they  could  be  quickly  set  up  when  occasion 
required,  they  were  seldom  of  artistic  importance.  Nat- 
urally no  examples  of  these  trestle  tables  have  come 
down  to  us,2)  there  are  numerous  specimens  of  long 
tables,  polygon,  oblong  and  round  ones  of  the  XVIth 
and  XVIIth  centuries,  purposefully  built  and  more  or  less 
beautifully  decorated. 

The  partiality  for  surface  treatment  here  also  has 
become  of  importance,  antique  marble  tables  serving 
as  direct  models  for  this  (fig.  22).  Instead  of  rounded 
or  four-cornered  feet,  antique  tables  were  supported 
by  broad  sculptured  marble  slabs,  these  were  copied 
in  stone;  but  more  frequently  in  wood  and  adapted 


20.  Small  Chest  to  be  placed  on  Sideboard,  circa  1600 

Arts  and  Crafts  Museum,  Leipzig- 


to  the  nature  of  the  material3).  At  first  in  the  XVth 
century  the  supports  were  of  a simple  vase  like  shape, 
devoid  of  plastic  inner  ornamention  (fig.  284  ff .).  The 

’)  This  is  specially  conspicuous  in  Sodoma’s  fresco,  paint- 
ings of  scenes  from  the  Miracle  of  the  Pot,  performed  by 
St.  Benedict  on  Monte  Oliveto  near  Buonconventi , and  in 
Leonardo  da  Vinci’s  “Last  Supper”  and  other  pictures. 

2)  Figs.  282  and  283  are  interesting  examples  of  the  tran- 
sition period. 

3)  The  outward  sides  of  the  supports  were  often  more  richly 

carved  in  relief  than  the  inward  parts.  As  a rule  there  are 
but  two  supports,  but  longer  tables  have  sometimes  three  or 
more.  In  Cisalpine  tables  of  the  Gothic  period  the  supports 
are  frequent,  but  of  another  construction. 


XXIV 


single  and,  for  this  reason,  most  effective  decoration 
being  the  curved  outline. 

In  the  course  of  development  the  supports  were  more 
and  more  richly  decorated  with  florid  wood  carving. 
At  the  same  time  their  outlines  became  more  varied; 
together  with  vase  shapes  came  such  as  are  akin  to 
Roman  sculptured  marble  ones,  ornamented  with  fan- 
tastic combinations  of  volutes,  acanthus  leaves,  animals, 
and  sagas,  coats  of  arms,  pine-cones,  and  other  orna- 
mental motives  (figs.  297  ff.).  A fulness  of  possibilities 
was  here  offered  and  of  these  every  advantage  was 
taken  by  the  craftsmen.  The  supports  are  in  almost 
all  cases  broader  and  by  this  correspond  to  their  pur- 
pose, to  bear  the  heavy  top;  while  the  rhythmical  outline 
and  the  carving  often 
at  the  same  time 
serve  to  symbolize 
the  supporting 
strength  and  carrying 
weight.  As  in  Greek 
temples  or  mediaeval 
cathedrals , in  the 
finest  specimens  of 
renaissance  tables  the 
function  of  bear- 
ing and  poising  is 
embodied,  although 
the  means  resorted 
to  attain  to  this  per- 
fection were  naturally 
far  different. 

The  traverses  are 
just  as  manifold  in 
their  forms  as  the 
supports  which  they  connect  together  (figs.  301  ff.). 
They  are  sometimes  curved  on  the  lower  or  upper  edge, 
the  outline  being  repeated  on  both  sides,  and  are  in 
some  specimens  placed  close  to  the  top,  in  others  about 
half-way  up  the  supports. 

In  earlier  types  where  the  table  consists  of  a few 
more  or  less  ornamented  boards,  the  traverses  are  placed 
in  the  supports  and  made  firm  by  means  of  a wedge ') 
(figs.  284  ff.).  In  more  florid  forms  it  was  thought  suf- 
ficient to  insert  the  traverses  in  such  a manner  as  to 
be  imperceptible  from  without.  At  times  in  place  of 
traverses  a narrow  foot-board  touching  the  floor  connects 
the  supports  with  one  another.  By  the  accord  between 
the  top  and  foot  board  the  restfulness  of  the  entire  table, 
and  thereby  its  architectonic  entirety,  is  most  felicit- 
ously accentuated.  This  accord  in  some  specimens  is 
heightened  by  columns  or  balusters  above  the  foot-board, 

')  It  was  but  rarely  that  the  frame  was  made  to  draw  out, 
and  when  this  was  the  case  only  so  far  as  to  enable  getting- 
at  the  secret  places  hidden  within  them;  in  the  Bagatti- 
Valsecchi  Collection  in  Milan  (illustrated  by  Malaguzzi-Valeri 
p.  104).  Unfortunately  I have  not  been  able  to  consult  Pietro 
Toelsca’s  (Milan)  recent  catalogue  of  this  collection. 


so  that  the  view  of  the  long  side  becomes  richer  and 
at  times  even  superb  (figs.  312,  313,  316). 

Besides  these,  from  the  earliest  times,  free  standing 
pillars,  as  also  balusters  and  columns  were  used  as  single 
supports;  the  size  of  the  table,  the  weight  or  elegance  of 
its  supports,  and  the  manner  in  which  these  are  con- 
nected with  the  plate,  being  decisive  for  its  character. 
Attention  must  be  drawn  in  all  cases  including  those 
just  mentioned,  to  the  profile  of  the  plate  and  the  oc- 
casional presence  of  drawers  beneath  it.  These  in  their 
perfect  relation  to  one  another  accentuate  the  burden 
of  the  horizontal  and  at  the  same  time  divide  it  off 
either  at  regular  intervals  or  in  rhythmical  alternation 
(figs.  294,  316,  322). 

In  cases  when  these 
tables  are  of  the 
same  length  and 
breadth,  they  form 
an  imperceptible 
transition  to  the  poly- 
gon and  round  ones, 
the  framework  often 
being  the  same. 
These  show  a greater 
diversity  of  form  and 
richness  of  treatment. 
For  a single  support 
shaped  like  a pillar 
or  a baluster  suffices 
to  bear  the  plate 
(figs.  352,  353,  354, 
355)  and  this  central 
support  is  sometimes 
compact  in  con- 
struction and  ornamented  with  outstanding  sculpture, 
at  times  being  formed  of  a single  piece  of  sculpture; 
or  the  table  is  encircled  with  supports  set  close 
to  its  edge  either  at  stated  distances  or  in  juxta- 
position to  one  another,  in  this  way  again  expressing  a 
certain  completeness  of  the  whole  (figs.  337,  338  and 
347).  Again  in  some  the  supports,  like  those  of  long 
tables,  meet  together  in  the  diagonal  (figs.  340 — 345).  In 
all  the  types  mentioned,  round,  hexagonal,  and  octagonal 
plates  are  to  be  met  with,  the  plate  not  always  being 
in  accord  with  the  arrangements  of  the  supports,  in 
cases  for  instance  where  an  hexagonal  is  borne  by  only 
four  supports.  These  latter  have  the  effect  of  being 
slender,  up-climbing,  or  heavy  and  squat,  as  the  case 
may  be,  and,  as  in  long  tables  they  have  their  broadest 
parts  either  direct  above  or  below  (figs.  351,  357).  The 
encircling  supports,  when  not  pillar-like  in  form,  some- 
times accentuate  the  vertical  by  their  very  shape,  or 
they  are  lion-clawed  with  flat  volutes  (fig.  347).  The 
traverses  are  either  round  or  polygon  in  form,  or  arc 
connected  with  the  legs  by  cross-bars  (figs.  329 — 336). 
Some  tables  have  an  additional  control  support  (fig.  334). 


21.  Central  Italy  after  1550.  Small  Bench 

Landes-Museum,  Darmstadt 


XXV 


On  the  other  hand  should  there  be  only  one,  it  is  more 
strongly  constructed  and  broadens  out  below  in  order 
to  make  the  table  stand  firmer  (fig.  358  ff.).  But  all 
these  tables  have  purposefulness  of  construction  and 
harmony  of  rhythm  in  common,  however  much  they  may 
differ  in  other  respects. 

The  writing-desk  appears  to  form  the  transition  be- 
tween table , low  cupboard  and  their  related  praying- 
desk ').  This,  however,  is  better  known  from  pictorial 
representations  of  Saints  and  scholars  at  their  books 
than  by  original  ex- 
isting specimens2). 

It  is  true  Carpaccio 
painted  St.  Hierony- 
mus (fig.  44)  sitting 
on  a simple  bench 
at  a table  formed  of 
a plain  board  resting 
on  one  side  on  con- 
soles, the  narrow 
side  being  held  fast 
by  a slender  metal 

candelabra.  But 
sloping  desks  for 
sitting  were  far  more 

common;  though 
varied  as  to  details, 
they  all  convey  the 
impression  of  being 
both  perfectly  suited 
to  their  purpose  and 
harmonious  in  their 
proportions.  To- 
gether with  the  sur- 
rounding book-shelves  they  seem  to  have  formed  ideal 
places  for  study  (figs.  6,  40).  The  free  standing  small  cup- 
boards with  their  broad  overlapping  tops  seem  to  have  been 
another  transition  of  the  table  to  the  dresser.  But  these  are 
very  rarely  to  be  met  with  and,  in  all  probability,  were 
more  meant  for  ornament  than  for  use.  For  between 
the  modestly  decorated  supports  or  even  within  them, 
drawers  and  doors  were  inserted.  Cabinets  of  this  kind 
at  which  a person  might  sit  comfortably  (figs.  363 — 364) 
may  be  regarded  as  being  of  a new  and  distinct  type. 

')  (Fig.  248.)  Many  of  the  existing-  small  dressers  were 
originally  praying  desks,  which  art  dealers  in  order  to  dispose 
of  them  advantageously  provided  with  a small  socle  instead 
of  the  kneeling  step.  A peculiarly  broad  praying  desk  in 
the  Villa  Pia  near  Florence  is  a free  copy  of  a three-gated 
ancient  triumphal  arch. 

-)  Savonarola’s  writing-desk  in  S.  Marco,  Florence  would 
in  truth  prove  a valuable  relic  were  we  sure  that  it  had  once 
served  the  famous  Dominican  friar.  Among  the  most  simple 
forms  of  writing  and  reading-desks  may  be  counted  those 
represented  in  Masolino’s  fresco  of  the  Fathers  of  the  Church 
in  the  Baptistery  of  Castiglione  d’Olona:  narrow  boxes  placed 
sloping  and,  on  their  small  ends,  around  opening  to  give  place 
for  the  knees. 


Chairs,  Settees  and  Benches. 

What  primitive  chairs  and  benches  looked  like,  as 
with  most  pieces  of  simple  household  furniture,  is  only 
known  by  pictorial  representations  ’).  Carved  benches 
of  a later  period  which  are  even  rarely  to  be  found  in 
art  collections,  probably  came  from  sacristies  and  reli- 
gious houses,  but  their  construction  is  not  in  contra- 
diction with  their  having  been  used  for  profane  public 
or  private  purposes.  They  differentiate  from  the  chest 

insomuch  as  they 
served  only  for  sit- 
ting purposes.  The 
seats  are  borne  by 
either  quadrangular 
or  round  supports, 
most  varied  in  their 
articulation. 

Often  the  backs  are 
formed  of  balusters 
which  when  they  are 
rather  long,  are  sep- 
arated by  a central 
upright  (fig.  190). 
They  are  but  rarely 
supported  by  con- 
soles in  place  of  legs 
(fig.  179).  Otherwise 
the  variety  of  artic- 
ulation and  orna- 
mentation plays  little 
part  in  the  general 
impression  conveyed 
by  such  pieces  of 
furniture,  because  the  ground  construction  and  the  hori- 
zontal divisions  always  remain  the  same,  the  settees  and 
benches  vary  only  as  to  length.  On  small  ones  two  persons 
could  sit  comfortably  together,  on  very  long  ones 
there  was  place  enough  for  more  than  twenty  (figs.  21, 
22,  191). 

With  stools  and  chairs  it  was  far  otherwise  for  many 
types  existed  from  the  middle  ages,  varying  in  form 
according  to  the  special  purpose  for  which  they  were 
to  be  used.  The  armchair  (poltrona)  stood  in  imposing 
stateliness  against  the  wall  between  the  chests. 

The  chair  (sedia)  is  similar  to  the  armchair  in  its 
imposing  effect,  but  could  be  more  easily  moved.  In 
the  home  of  the  burgher,  however,  the  stool  (sgabello) 
in  its  most  primitive  form,  was  in  common  use  for 
centuries,  generally  it  had  three  or  four  straddling  legs 
with  a round  or  square  seat.  Such  are  frequently  to 

')  A perfectly  simple  bench  standing  on  four  slender  legs  is 
depicted  in  Ghirlandajo’s  fresco:  The  Death  of  St.  Fina 

in  San  Gimignano;  another  supported  by  plain  boards 
once  existed  in  the  Palazzo  Davanzati  (Illustrated  in  Hunter, 
Plate  27). 


22.  Marble  Table,  Roman  under  Creek  influence 

Pompeii 


XXVI 


be  seen  on  XVth  century  paintings'),  but  only  one  orig- 
inal specimen  of  this  kind  has  been  handed  down  to 
us,  namely  the  Strozzi  sgabello  in  the  Figdor  collection, 
Vienna,  which  in  contradistinction  to  the  original  type 
which,  besides  being  provided  with  a back  crowned  with 
a round  relief,  is  embellished  with  delicate  inlaid  friezes 
(figs.  380  and  382).  This  type  is  of  frequent  occurrence 
in  Upper  Italy  where  it  appears  in  a more  heavy,  almost 
rustic  variety,  distinguished  by  a somewhat  broader  back 
with  a peculiarly  shaped  profile  and  rich  chip  carving 
ornamentation  (figs.  381,  373/4).  But  in  Venice  even 
this  variety  underwent  a transformation  from  which 
resulted  a charming,  elegant  object  with  turned  legs  and 
with  backs  ornamented  with  dainty  bone  inlays  (fig.  375). 

The  so-called  Andrea  del  Sarto  chair  (formerly  in 
the  Palazzo  Davanzati)  is  a later  modification  of  this 
type.  The  seat  is  semicircular,  the  back  being  formed 
of  a like  balustrade  (fig.  406). 

In  stools,  too,  the  predilection  for  unbroken  surface 
effects  became  prevalent  as  early  as  the  XVIth  century: 
four  boards  tapering  off  towards  the  upper  end,  now 
sometimes  supported  the  seats  (fig.  26).  More  frequently 
there  were  only  two  supporting  boards,  one  in  the  front, 
and  one  behind,  profiled  and  ornamented  with  reliefs 
like  those  on  the  higher  and  broader  ones  of  the  tables  -). 
Again,  stools  of  this  kind  without  backs,  but  with 
straw-plaited  seats,  or,  in  later  times,  upholstered  ones, 
were  relatively  rare,  while  a large  number  of  chairs 


23.  Model  for  a Table  after  1500 

Kunstg-ewerbe-Museum,  Frankfort  on  the  Maine 


have  been  preserved  to  us.  The  backs  frequently  show 
rich  carving,  and  the  same  outline  and  decoration  as 
the  supports  (figs.  385,  387).  However,  types  of  this 

')  Thus  for  instance  it  often  recurs  on  Fra  Angelico’s  famous 
frescoes  in  the  Monastery  of  San  Marco,  Florence.  In  Michel- 
angelo’s “Deluge”  in  the  Sistine  Chapel,  a woman  is  depicted 
carrying  such  a stool  turned  upside  down  on  her  head,  in 
which  all  sorts  of  household  utensils  are  placed. 

2)  Vide  pag.  XXIV/V. 


24.  Central  Italy  after  1550.  Small  Settee 

E.  Simon’s  Collection,  Berlin 


kind  which  are  simpler  in  decoration,  but  more  impres- 
sive in  outline,  are  of  a far  higher  artistic  value.  Their 
backs  slant  towards  the  lower  end  and  are  slightly 
curved  in  order  to  make  sitting  comfortable  (figs.  376, 
and  sequ,  383)* 

The  folding  chairs  of  the  renaissance  were  derived 
from  mediaeval  chairs,  perhaps,  even,  in  an  indirect  way, 
from  classic  forms.  As  already  in  earlier  times,  so  in 
the  age  of  the  renaissance  they  were  frequently  made 
of  iron  and  bronze  (figs.  391/2)  and  the  employment  of 
these  materials  was  retained,  especially  in  Venice,  even 
for  more  complete  forms,  mounted  in  rich  velvet  and 
ornamented  with  passementerie,  the  shining  heads  of 
the  nails  securing  it  forming  an  additional  decoration 
(fig.  44).  From  the  simple  flap  stools')  developed  the 
folding  and  X stools-).  The  former  consisted  of  two  pairs 
of  curved  rods  joined  together  by  a profiled  rod  at  the 
points  of  crossing  beneath  the  seat,  and  by  stretchers 
below,  the  upper  part  being  connected  by  straight  or 
curved  arm-rests.  The  back  and  seat  were  formed  of 
stretched  leather  or  girths  (figs.  399 — 405). 

The  X chair  is  built  on  the  same  principals,  a number 
of  small  laths  being  crossed  together  so  closely  as  to 

')  In  the  middle  ages  called  “faldistorium”,  hence  the  French 
word  “fauteuil”. 


2)  In  trade  these  are  known  as  Dante  or  Savonarola  chairs 
but  without  justifiable  reason. 

XXVII 


appear  fast  joined  to  one  another* * *  4).  Naturally  laths 
appear  more  delicate  than  hardwood.  The  object  of 
the  folding  chair,  viz.  to  be  easily  transported,  was  aban- 
doned for  both  types  as  early  as  the  XVth  century,  so 
a back  formed  of  a simple  board  and  a seat  consisting 
of  laths  placed  close  together  were  added  to  the 
X chair.  At  the  same  time  the  front  profile  grew  richer 
in  the  rhythm  of  its  outline, 
the  curve  became  more  and 
more  varied,  and  was  orna- 
mented with  flat  carving ; 
the  backs  being  diverse  in 
shape'-’)  (fig.  396  and  seq.). 

The  folding  chair  underwent 
a like  metamorphosis.  The 
seat  and  back  were  then 
upholstered  and  together 
with  the  arm -rests  orna- 
mented with  relief  carving. 

In  Upper  Italy  the  front  of 
the  chairs  were  decorated  with 
certosina  inlays  (fig.  403  ff.). 

In  this  way  folding  chairs 
became  stable  and  comfort- 
able seats;  they  had  lost  the 
attribute  originally  determin- 
ing their  peculiar  function; 
but  the  impressive  suit- 
ableness and  harmony  of  their 
forms  lent  a new  and  peculiar 
charm  to  the  not  too  florid 
productions  of  the  later 
renaissance. 

Besides  straddle-legged  X 
chairs  there  can  be  no  doubt 
that  others  with  vertical  supports  were  also  in  use. 
Low  chairs  of  this  kind  are  to  be  seen  on  paintings 
of  the  XVth  century,  especially  in  bed-chambers.  Higher 
ones  are  ordinarily  provided  with  a back,  the  seats  being 
made  of  wood  or  plaited  straw3)  (fig.  408).  Carved 
ornaments  were  applied  to  the  cross-bars  between  the 
front  legs  and  to  the  backs4),  or  these  latter  were  resolv- 
ed into  a row  of  small  columns  (fig.  409  ff.).  From 
the  primitive  original  form  of  this  object  of  daily  use 
developed  the  stately  massive  chair  whose  place  was 
always  close  to  the  wall.  For  by  extending  the  front 

')  Or  the  laths  are  crossed  in  the  other  direction,  so  as  to 
form  the  back  (fig-.  394). 

-)  Sometimes  they  were  ornamented  with  reliefs,  this  being 
an  unsuitable  decoration  because  it  made  leaning  uncomfor- 
table. — The  so-called  Savonarola  X chair  was  also  known  in 
the  Alpine  countries  and  in  South  Germany,  in  the  XVI 4,1 
century. 

'■')  Upholstery  in  most  cases  has  probably  been  added  later. 

4)  Chairs  with  particularly  rich  carvings  in  cartouche  forms 
(fig.  450 — 455)  were  probably  first  made  in  the  north  of 
Lombardy,  and  imitated  in  the  Alpine  countries  and  in  South 
Germany. 


legs  above  the  seat  and  connecting  their  upper  parts 
with  the  back  the  arm-rests  were  formed  (figs.  420  ff.). 
Velvet,  stuff  or  leather  mountings  soon  became  of 
general  use ; it  is  most  instructive  to  follow  in  all  de- 
tails how  the  simple  frame  of  the  chair  more  and  more 
acquired  unity  and  a certain  grandezza,  by  merely  broad- 
ening out  the  back  and  emphasizing  the  seat  whose 
mounting  now  reached  down  to  the  legs  being  some- 
times edged  with  fringes  of  about  a hand’s  breadth  wide 
(figs.  419- — 438).  Here,  too,  the  application  of  carving 
was  mostly  limited  to  the  cross-bar  in  front;  the  sup- 
ports of  the  arm-rests  were  sometimes  formed  like 
balusters,  while  the  arm-rests  themselves  together  with 
the  backs  were  carved.  The  seats  and  the  backs  were 
mounted  with  pressed  leather  gilded  over  and  partly 
tooled,  or  covered  with  costly  patterned  stuffs.  It  is 
remarkable  how  uncommonly  high  the  seats  of  these 
chairs  were,  a circumstance  which,  in  a way,  helped  to 
making  a straight  and  ceremonious  attitude  ’)  unavoidable. 
The  same  may  be  said  of  the  sgabelli.  Folding-stools 
were  mostly  of  their  present  height;  besides  these,  some 
very  low  chairs  with  ornamented  backs,  a row  of  balusters, 
or  a carved  frieze,  are  still  in  existence,  which  are  very 
comfortable  to  sit  upon  (figs.  409  and  415). 

Reading-Desks,  Stands,  Wall  Brackets  and 
Frames. 

The  less  frequent  articles  of  furniture  of  the  Italian 
renaissance  were  built  on  the  same  architectural  principles, 
and  decorated  in  a like  manner  as  the  most  necessary 

pieces  of  house- 
hold furniture. 
This  is  true  of 
writing  and 
reading-desks, 
stands  for  busts, 
and  other  pur- 
poses, brackets, 
mirror  and  pic- 
ture-frames, and 
other  objects 
peculiar  to  the 
home. 

The  use  of  the 
church  reading- 
desk  or  lectern 
was  for  the 
psalter  to  rest 
upon  at  such  a 
height  that  all  the  choristers  might  be  able  to  read  the  large 
and  clearly  traced  music  and  the  text  of  the  sacred  hymns. 
Its  heavy  base  was  generally  a self-contained  box  in  which 
the  missals  were  kept,  at  the  same  time  it  formed  a step 

4)  Most  tables  and  a great  many  sideboards  are  likewise 
higher  than  seems  convenient  in  our  days. 


25.  Venice  (?)  XVI41'  Cen- 
tury, Chair  with  Sloping 
Seat 

Formerly  in  L.  Bernheimer’s 
Collection,  Munich 


26.  Italy,  XVI41'  Century: 
Carved  Stool 

Schloss-Museum,  Berlin 


XXVIll 


thus  making  turning  the  pages  easy.  Here  as  well  as 
in  the  church-stalls,  intarsia  work  and  rich  carving  were 
usual  as  ornamentation.  In  those  reading-desks  meant 
for  private  use  there  was  no  need  of  tall  and  heavy 
bases,  the  sloping  upper  part,  perfect  in  itself,  was 
detachable  from  its  socle,  and  could  be  used  on  a writ- 
ing table  ]),  or  the  reading-desk  proper  was  supported 
by  a tall  column  or  a baluster  (figs.  458 — 460). 

The  bronze  eagle-desks  came  to  Italy  from  the  coun- 
tries of  the  Meuse  but  were  probably  little  used  for 
secular  purposes.  According  to  Bernardino  Baldi,  one 
such  existed  in  the  famous 
library  of  Federigo  da 
Montefeltro,  in  the  castle 
of  Urbino*  2).  Folding 
desks  were  also  known, 
they  were  made  of  crossed 
laths,  a piece  of  tensely 

stretched  ornamented 
leather  supporting  the 
book.  Flat  carvings  cov- 
ered the  slender  supports 
which  were  joined  tog- 
ether by  delicately  turned 
cross-bars.  On  some, 
behind  the  foliage  a 
narrow  band  of  pierced 
wood  carving  is  present 
(fig.  462). 

Stands  meant  for  busts 
and  medium-sized  objects 
of  plastic  art  were  very 
rarely  made  open  (fig.478) 
simply  because  of  the 
heavy  weight,  they,  as  a 
rule,  had  to  carry;  more- 
over such  an  incongruity 
would  have  hurt  the 
refined  artistic  feeling  of 
the  High  Renaissance.  It  was  only  in  the  XVIth  cen- 
tury that  lighter  stands  came  into  vogue  when  busts 
— in  imitation  of  classic  Roman  models  — were  tapered 
off  into  an  oval  and  fixed  on  round  profiled  socles. 

In  the  XVth  century  busts  terminated  at  the  shoulders, 
their  place  was  on  the  mantlepiece  or  above  the  doors. 
Now  the  stands,  which  as  supports  for  tables  and  chairs 
had  been  developed  in  manifold  forms  and  designs  as 
also  in  their  carved  decorations,  became  taller  and  more 
slender  (fig.  476,  477,  479).  Painting  was  but  rarely 

’)  Such  a one  is  depicted  in  one  of  Carpaccio’s  paintings 
(fig.  44)  and  on  Ghirlandajo’s  frescoes,  Botticelli’s  St.  Hierony- 
mus and  St.  Augustinus,  in  the  church  Ogni  Santi  in  Florence, 
and  in  Pinturicchio’s  ‘‘Virgin  Surrounded  by  Angels”  in  S. 
Maria  del  Popolo,  in  Rome,  as  well  in  many  other  pictures. 
Also  small  writing-desks,  placed  on  tables,  have  sometimes 
been  depicted  (figs.  4 and  371,  and  Bode  Plate  LXX1). 

2)  A.  Schmarsow:  Melozzo  da  Forli  pp.  33/4. 


used  to  ornament  them  (fig.  463).  Typical,  however, 
for  all  these  stands  is  that  they  narrow  off  upwards, 
the  front  and  back  straddle  apart,  but  their  profiles  are 
identical. 

The  clothes-rack  (attaccapanno  or  capellinaro  *)  was 
occasionally  provided  with  a carved  ornamental  top,  or 
it  was  of  a shield  shape  with  cartouche  ornaments 
(fig.  247).  Sometimes  it  was  combined  with  a shelf, 
and  with  this  in  Venice  a peculiar  small  ornamented 
object  of  furniture  was  created  known  as  restello  di 
camera'2),  to  which  a mirror  was  often  added.  Its  pegs, 

however  were  not  intend- 
ed for  suspending 
clothes,  but  small  articles 
of  wear 3). 

It  must  not  be  forgotten 
that  mirrors  made  of 
glass4)  at  that  time  were 
held  as  precious  objects 
and  therefore  their  fram- 
ing worthy  of  every  ad- 
ornment ; florid  decor- 
ations which  with  paintings 
and  reliefs  would  have 
diverted  the  attention 
from  the  chief  object, 
were  here  in  their  right 
place.  The  earliest  mir- 
rors were  round  like 
bulls’  eyes  and  often 
deeply  set  in  their  frames 
which  were  likewise 
round ; the  transition  to 
oblong  forms  was  brought 
about  by  adding  ornament- 
ed wedges.  The  frames 
were  sometimes  so  broad 
and  elaborate,  especially 
in  the  restello,  that  the 
mirror  itself  was  relegated  to  a secondary  place,  the 
decoration  being  the  chief  thing.  Square  mirrors 
sometimes  bear  phantastic  carvings  such  as  hermae  and 

*)  This  literally  means  the  place  where  clothes  or  hats  are 
to  be  suspended.  Another  expression  especially  used  in  Venice 
is  taccatabarro,  the  tabarro  being  the  ample  picturesque  mantle 
of  the  Italian. 

-)  G.  Ludwig,  in  the  above  cited  work  gives  full  details  as 
to  the  restello,  and  also  mentions  the  restello  di  scrittura, 
serving  for  letters  and  writing  materials.  He  derives  the  word 
from  restellus  (a  small  rack).  The  restello  must  not  be  con- 
fused with  the  restelliera  or  lanziera  which  was  a large  rack 
for  holding  weapons,  lances,  and  banners. 

3)  Therefore  the  lower  part  of  the  mirror  frame  is  some- 
times particularly  broad,  the  transition  towards  the  upper  part 
being  formed  by  scrolls  or  phantastic  forms  of  fish  (fig.  481). 

*)  There  were  also  such  made  of  burnished  metal  plate. 
In  Murano,  the  Italian  place  for  glass-manufacture,  the  art  of 
mirror  making  reached  a high  stage  of  perfection  after  the 
Germans  improved  the  art  of  quicksilvering  (Ludwig  pp.  306  7) 


27.  Venice,  about  1500,  Small  Wall  Mirror 


XXIX 


gorgons  !),  while  the  head  pieces  and  the  consoles  are 
decorated  with  rich  festoons,  armorial  bearings,  putti 
and  fabulous  animals  (fig.  491,  494 — 498). 

For  large  frames'  ) of  a determined  renaissance  style 
architectonic  constructions  were  naturally  favored,  the 
horizontals  being  shaped  like  socles  and  cornices;  the 
verticals  like  pilasters.  At  first  articulation  and  decora- 
tion were  not  achieved  alone  by  carvings,  for  painting 
also  had  its  part  in  this;  up  to  circa  1500  a predella 
picture  was  inserted  into  the  frame  at  the  base.  It  is 
in  harmony  with  the  spirit  of  “classic  art”,  which,  essen- 
tially restricts  coloured  representations  to  the  picture 
proper;  to  bring  this  into  prominence  by  a forcible 
profiled  carved  frame,  this  indeed  being  its  true  office. 
Large  frames,  it  is  true,  were  chiefly  in  use  for  altar 
pictures;  for  in  private  houses  large  pictures  were  very 
rare  :i). 

Such  architecturally  built  frames  were  also  made  on 
a smaller  scale,  and  used  for  reliefs,  paintings  and  mir- 
rors (figs.  492/3).  Besides  these,  the  now  common  frames 
with  like  mouldings  on  all  sides  came  into  vogue  for 
pictures  of  a small  or  medium  size  (fig.  506  and  seq.); 
for  their  ornamentation  the  whole  richness  of  motives 
developed  by  Italian  cabinet-makers  in  the  XV  and  XVI 
centuries  were  employed.  The  larger  round  frames 
imitating  the  festoons  of  fruit  which  the  della  Robbia 
family  had  made  popular  in  their  works,  became  a 
speciality.  At  a later  period  they  were  covered  with 
rich  bas-reliefs  of  a more  ornamental  character,  rhythmi- 

’)  These  sometimes  serve  as  handles  to  a shutter  to  be 
drawn  across  the  mirror  as  a safeguard,  similar  to  those  used 
to  protect  pictures  during  the  renaissance. 

-)  Vide:  E.  Bock,  Florentinische  und  Venezianische  Bilder- 
rahmen  aus  der  Zeit  der  Gotik  und  Renaissance  (Munich  1902), 
and  Guggenheim : Le  Cornici  Italiane  (Milan  1897). 

3)  Vide:  Schubring  pp.  9 — 11. 


cally  divided  off  by  projecting  heads  or  knobs1).  Finally 
the  so-called  Sansovino  frames  (fig.  513/4)  which  in  pic- 
turesque alternation  combine  cartouches  with  different 
kinds  of  architectorial  forms  and  fanciful  decorations, 


28.  Painted  Wooden  Box,  Gilded  and  Ornamented 
with  Stucco,  XVth  Century 

Victoria  and  Albert  Museum,  London 

were  a transition  to  the  flamboyant  language  of  forms 
of  the  baroque  period.  Towards  the  end  of  the  renais- 
sance these  became  very  popular,  not  only  in  Venice, 
which  was  their  birth-place,  but  throughout  Italy.  The 
unrestfulness  and  intricacy  of  the  pictorial  composition 
and  the  high  degree  of  the  plastic  illusion  obtained, 
demanded,  as  a counterpoise,  a ponderous  or  strongly 
rhythmical  delimitation. 

])  Sometimes  they  were  inserted  in  carved  wood  ceilings. 
Vide:  Geymiiller  and  Stegmann  quoted  above,  Vol.  VII  1, 
Plate  6. 


III.  ARTS  AND  CRAFTSMEN 


At  the  time  of  Renaissance  no  sharp  line  was  drawn 
between  arts  and  craftsmen.  The  builder  who  built  the 
house  also  provided  for  its  furnishings,  the  sculptor  be- 
gan his  career  as  a stone-mason  or  goldsmith,  and  famous 
artists  have  even  painted  furniture  ').  Nevertheless  there 
were  specialists'-’)  in  intarsia -making  and  wood-carving 
of  great  renown,  and  more  especially  artist- painters  of 
chests3).  But  the  influence  of  famous  artists  on  the 
build  and  decoration  of  the  furniture  is  beyond  question. 

’)  Vide  Schubring,  pp.  76  ff.  and  numerous  passages  in 
Vasari  (collected  by  Schubring,  p.  90).  Vasari  mentions  furni- 
ture of  Baccio  d’Agnolo  having  been  painted  for  Pier  Francesco 
Borgherini  in  Florence  by  Andrea  del  Sarto,  Pontormo  and 
other  famous  artists. 

’)  A complete  list  is  contained  in  Finocchetti  and  other 
works. 

3)  Vide  Schubring,  pp.  430  and  ff.  who  has  published  a 
workshop  book  kept  by  two  chest  painters  who  between  the 
^ ears  1446  and  1463  painted  between  170—200  chests. 


This  is  true  especially  of  Giuliano  da  Maiano  •)  and 
Michelangelo.  It  was  exactly  this  iatter  many-sided  artist 
whose  wish  it  was  to  be  only  a sculptor,  who  gave  so 
much  impulse  to  the  art  of  furniture-making.  He  de- 
signed the  book-shelves  and  chairs  in  Lorenzo  da  Medici’s 
library  (fig.  153),  the  austere  profiles  of  many  chests 
calling  up  reminiscences  of  strong  metal  coffers  may 
be  traced  to  his  influence  and  probably  the  fantastic 
masks  (figs.  110,  214,  135  etc.)  which  played  so  great 
a role  during  the  XVIt!l  century,  as  also  other  figural 
motives,  owe  their  origin  to  him2).  The  Uffizi  Gallery 

])  See  Schottmiiller,  Amtliche  Berichte  aus  der  Kgl.  Kunst- 
sammlung  XXXIX  (Berlin  1918),  pp.  80  ff. 

2)  Vide:  Thode,  Michelangelo,  Kritische  Untersuchungen 

fiber  seine  Werke,  Vol.  II  (Berlin  1908),  for  the  library  pp.  118 
and  135,  for  the  candelabra  in  the  Medici  Chapel  p.  Ill, 
and  regarding  those  objects  of  furniture  wrongly  attributed 
to  him  p.  513.  For  the  frame  of  the  round  picture  of  the 
Holy  Family  see : E.  Bock,  p.  78  (fig.  489). 


XXX 


in  Florence,  the  British  Museum  in  London,  and  other 
art  collections  contain  numerous  designs  for  furniture 
by  his  contemporaries  and  successors  (figs.  29,  30),  famous 
artists  having  more  especially  made  designs  for  chests 
with  figura!  reliefs  (figs.  125 — 132,  134 — 138,  139) ’). 

The  enormous  importance  of  such  close  connection 
between  artists  and  craftsmen  and  their  joint  work  is 
above  all  question.  The  artist  intimate  with  the  work 

J)  Vide  figs.  29  and  134. 


of  the  craftsman  understood  and  appreciated  the  value 
of  good  work  and  designed  objects  corresponding  to 
the  material  out  of  which  they  were  to  be  formed,  while 
the  craftsman  received  new  impulse  from  the  artist 
which  led  him  to  perform  his  utmost.  In  this  way  ex- 
pression was  immediately  given  to  the  new  ideas,  there 
was  no  going  back  from  them;  and  the  culture  of  the 
home  during  the  Renaissance  acquired  that  harmony 
corresponding  to  the  intrinsic  grandeur  of  this  great  age. 


29.  Design  for  a Coffer,  after  1550 
Pen  Drawing 

Uffizi  Gallery,  Florence 


XXXI 


30.  Design  for  a State  Bed,  after  1550 
Pen  Drawing 

Library  of  the  Arts  and  Crafts  Museum,  Berlin 


XXXII 


1 


Phot. 


Anderson 


31.  G.  Mansueti:  Hall  in  Venetian  Palace  about  1500  (Miraculous  Healing  of  Blind  Girl 
by  the  Means  of  a Candle  standing  by  a Relic) 


Venice,  Academy 


>AaA.tA4iai  -h  >4ilUr  A-/  ■ 


Te  MP  LA  DOM  V POSIT  IS;  V 1C  O S FORA  M OE  N I A PONTES 

Virgin eam  trivi!  qvod  repararis  aqvam-  . 

PlUSCA  LICET  NA.VTIS  STATVAS  DARE  COMMODA  PORTVS! 
CT  VATIC  AN.VM  C1NGERE  S1XTE  1VGVM; 

Plvs  tamen  vrus  de bet: Nam  qvae  sqvalore  latebat 

CeRJMITVR  INCELEBIU  BIBLIOTHECA  LOCO- 


P*t'  ; 

m^Msmddddm 


Phot.  Anderson 


32.  Melozzo  da  Forli:  Roman  Palace  Hall  1476 — 1477  (Foundation  of  the  Vatican  Library) 


Rome,  Vatican 


3 


33.  C.  Crivclli:  Street  and  Dwelling-House  in  Border  Town  1486  (The  Annunciation) 


London,  National  Gallery 


4 


Phot.  Alinari 


34  Domenico  di  Bartolo:  Hospital  about  1440 — 1443  (Healing  of  the  Sick) 


Siena,  S.  Maria  della  Scala 


35.  V.  Carpaccio:  Venetian  Bedroom  (1490  to  1495)  St.  Ursula’s  Dream 


Venice,  Academy 


6 


about  1500  (The  Annunciation)  (Tidings  of  Death  to  Virgin  Maria) 

Venice,  S.  Francesco,  della  Vig-na  Siena,  Cathedral 


/ 


38.  Domenico  Ghirlandajo:  Patrician  Bedroom  1490  (Birth  of  the  Virgin 

Florence  S.  Maria  Novella 


39.  Benedetto  da  Maiano:  Bedroom  with  Boiserie  about  1475  (Birth  of  John  the  Baptist) 

London,  Victoria  and  Albert  Museum 


40.  Antonello  da  Messina:  St.  Hieronymus  in  his  Study  (detail) 

London,  National  Gallery 


9 


41.  Andrea  del  Sarto:  Patrician  Bedroom  1514  (Birth  of  the  Virgin) 


Florence,  S.  S.  Annunciata 


1U 


42.  Sodoma:  Patrician  Bedroom  1511/12  (Alexander  and  Roxane) 

Rome,  Villa  Farnesina 


11 


43.  Scarsellino:  Birth-Room  after  1550 


12 


44.  V.  Carpaccio:  St.  Hieronymus’  Study,  between  1502  and  1507 

Venice,  Scuola  S.  Giorgio  dei  Schiavoni 


13 


45.  J.  Tintoretto:  Hall  in  Palace,  1561  (Marriage  at  Cana) 

Venice,  S.  Maria  della  Salute 


14 


46.  Collegio  della  Mercanzia,  Perugia  (Merchant’s  Guild),  End  of  14th  Century 


15 


47.  Palazzo  Davanzati,  Florence:  Large  Room  on  First  Floor 


6 


48.  Palazzo  Davanzati,  Florence:  Large  Room  on  First  Floor  49.  Citta  di  Castello,  Pinacoteca  Communale:  Large  Room 


17 


4 


50.  Palazzo  Davanzati,  Florence:  Large  Room  on  Second  Floor 


:0- 


18 


51.  Palazzo  Davanzati,  Florence,  Large  Room  on  Third  Floor 


# 


19 


52.  Palazzo  Davanzati,  Florence,  Room  on  Third  Floor 


20 


53.  Palazzo  Davanzati:  Florence,  Parrot-Room 


21 


54.  Palazzo  Davanzati,  Florence:  Parrot-Room 


22 


55.  Palazzo  Davanzati,  Florence,  Peacock-Room 


23 


56.  Palazzo  Davanzati,  Florence,  Room  white  Silk  Wall-Hangings 


24 


57.  Palazzo  Davanzati,  Florence:  Room  on  Second  Floor,  with  Corner  Fireplace 


25 


58.  Palazzo  Davanzati,  Florence:  Bedroom  on  Third  Floor 


26 


59.  Palazzo  Davanzati,  Florence,  Bedroom  on  Third  Floor 


rr 


27 


60.  Palazzo  Davanzati,  Florence,  Mural  Painting  on  Third  Floor 


28 


Pliot,  Alinnri 


61.  Chapel  in  Palazzo  Ducale,  Urbino  about  1475 


29 


I’liot.  Alinari 

62.  Palazzo  Vecchio,  Florence,  built  between  1570  and  1573  by  G.  Vasari: 

Privy  Cabinet  of  Duke  Francesco  Medici 


30 


63.  Palazzo  Vecchio,  Florence,  Large  Hall  in  Suite  of  Leo  X,  After  1555,  Built  by  Vasari 


31 


64.  Corte  Vecchia,  Mantua,  Marble  Hall,  after  1550 


32 


65.  Scuola  S.  Giorgio  dei  Schiavoni,  Venice:  Entrance  Hall,  after  1500,  Now  Used  for  Religious  Services 


33 


5 


66.  Palace  of  the  Doges,  Venice,  Sala  della  Bussola,  Interior  Decoration  after  1550 


34 


Paintings  by  P.  Veronese  and  J.  Tintoretto 


35 


68.  Pinacoteca  Communale,  Citta  di  Castello:  Hall  with  Mural  Paintings,  after  1550 


36 


69.  Florence: 


First  Half  of  15th  Century,  Painted  Chest  with  Metal  Mountings 


Formerly  in  the  Bardini  Collection,  Florence 


70.  Siena  about  1450,  Chest  Painted  and  with  Stucco  Reliefs 

Private  Collection,  Florence 


37 


Victoria  and  Albert  Museum,  London 


Schloss-Museum,  Berlin 


38 


Arts  and  Crafts  Museum,  Leipzig 


Schloss-Museum,  Berlin 


Caslello  Vincigliata,  Florence 


Phot.  Brogi 


74—  76.  Tuscany,  1411'  and  IS11'  Century:  Fronts  of  Chest  and  Chest  with  Gilded  Stucco  Reliefs 


39 


77.  Venice  about  1550.  Table-Chest  with  Gilded  Stucco  Reliefs 

Arts  and  Crafts  Museum,  Frankfort  on  Maine 


78.  Venice  about  1500:  Carved  and  Gilded  Cupboard-Chest 


Schloss-Museum,  Berlin 


40 


Venice  about  1500.  Museo  Poldi  Pezzoli,  Milan 

79—80.  Chests  with  Gilded  Stucco  Reliefs 


41 


42 


Phot.  Anderson 


Verona  about  1500.  Museo  Civico,  Verona 


Verona  about  1510.  Museo  Poldi-Pezzoli,  Milan 


Venice  about  1530.  Schloss-Museum,  Berlin 


83—85.  Chest-Front,  Carved  and  Painted  Chests 


43 


Amsterdam  in  Collection  O.  Lanz 

86 — 88.  Upper  I taly  (Venice?)  about  1500  Certosina  Chests  (open  and  closed) 


Schloss-Museum,  Berlin 


44 


Kaiser  Friedrich-Museum,  Berlin 


45 


Kaiser  Friedrich-Museum,  Berlin 


46 


Victoria  and  Albert  Museum,  London 


Victoria  and  Albert  Museum,  London 


Arts  and  Crafts  Museum,  Leipzig- 

93 — 95.  Tuscany  beginning  of  the  16th  Century:  Inlaid  Chests 


K8 


47 


rtUJL^IlM" 


- r ■-  ;-JZ;  iiii-y'io.ft 


Mmi 


96.  Florence:  1512:  Bridal  Chest  bearing  Strozzi  and  Medici  Arms 

Schloss-Museum,  Berlin 


97.  Central  Italy  about  1460:  Isotta  da  Rimini’s  Table-Chest 


Figdor  Collection,  Vienna 


48 


District  of  the  Etsch,  Schloss  Museum,  Berlin 

98—100.  About  1450,  Chests  Inlaid  or  with  low  Relief  Carving 


49 


6. 


101—102.  Carved  Chests 


■PIBSiHlMIflBHS 


: ,y !. ' iA'M  -vvi  ;vl > ,S CiUO v.U> 


Siena  about  1540 


Florence  about  1490 


Siena  about  1550 

103  105.  Carved  Chests 

Kaiser  Friedrich-Museum,  Berlin 


51 


Verona  after  1500 


Venice  (?)  about  1600 


Bologna  after  1550 

106 — 108.  Carved  Chests 


Kaiser  Friedrich-Museum,  Berlin 


52 


110.  Florence  about  1550:  Carved  Chest-Seat 

Kaiser  Friedrich-Museum,  Berlin 


53 


Upper  Italy  about  1550 

111—112.  Carved  Chest-Seats 


Schloss-Museum,  Berlin 


Formerly  in  the  Bardini  Collection,  Florence 


Formerly  in  Julius  Bohler’s  Collection,  Munich 

113 — 115.  Upper  Italy,  late  16t!l  Century:  Chests,  Inlaid  with  stucco  work  or  carved 


55 


Upper  Italy  after  1550 


Florence  (?)  about  1570 


Venice  about  1600 

116 — 118.  Carved  Chest-Seats 


Kaiser  Friedricl  -Museum,  Berlin 


56 


Arts  and  Crafts  Museum,  Leipzig- 


National-Museum,  Darmstadt 


National-Museum,  Darmstadt 

119—121.  Tuscany,  16th  Century:  Carved  Chest  Seats 


57 


Central  Italy  about  1600 


Florence  after  1550 

122 — 124.  Carved  Chests 


Kaiser  Fricdrich-Museum,  Bcrlii 


58 


125 — 129.  Rome  about  1540:  Chests  with  Carved  Figural  Reliefs,  Front  and  side  Views 


Kaiser  Friedrich-Museum,  Berlin 


59 


130.  Central  Italy  17th  Century:  Chest  with  Rich  Figural  and  Ornamental  Carving 

Formerly  Julius  Bohler’s  Collection  in  Munich 


131.  Central  Italy  about  1550:  Chest  with  Carved  Figural  Reliefs  and  Corner  Figures 


Formerly  Julius  Bohler’s  Collection  in  Munich 


60 


Pilot.  Brogi 


Tuscany  after  1550,  FI  orence  Museo  Nazionale 


132—134.  Chests  with  Carved  Figural  Reliefs 


61 


Rome  about  1550,  Arts  and  Crafts  Museum,  Leipzig 


Central  Italy  about  1540,  Castcllo  Sforzesco,  Milan 

135 — 137.  Carved  Chests 


62 


Schloss-Museum,  Berlin 

138-  139.  Rome  after  1550:  Marriage  Chests  with  Carved  Figural  Reliefs 


63 


Castello  Vincigtiata,  Florence 

140  141.  Toscana  about  1550.  Chests  with  Chip  Carving 


64 


65 


7. 


146—149.  Tuscany  16th  Century:  Carved  Jewel  Boxes 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 

150  — 151.  Central  Italy  16th  Century:  Boiserie  with  Choir-Stalls 


67 


National-Museum,  Darmstadt 

152.  Tuscany  after  1550:  Boiserie  with  Seat 


68 


154—155.  Pantaleone  de’  Marchis:  Inlaid  Choir-Stalls,  Lombardian  about  1500 

Kaiser  Friedrich-Museum,  Berlin 


69 


156 — 157.  Florence  after  1450:  Carved  Choir-Stalls  with  Intarsias 


70 


158  — 163.  Pantaleone  de’  Marchis:  Intarsia  Scroll  Fillings  from  Choir-Stalls 


Kaiser  Fi  iedrich-Museum,  Berlin 


71 


164—171.  Pantaleone  de’  Marchis:  Intarsia  Scroll  Fillings  from  Choir-Stalls 

Kaiser  Fricdrich-Muscum,  Berlin 


72 


172.  Siena  about  1525:  Back  of  a Throne,  Mounted  in  Silk  (added  later)  and  Chest 

(Venice  about  1550) 


< 


Schloss-Museum,  Berlin 


§B 


ii  t t'ii  t J iHJ  li  t in  Uu.t  | itf  Vut 


XtCU’U 


rti jUMkktUOM^ 


1 <r:<K(C<iw»K« ittSttcfew 


HMMHnHMnMi 


SDBSSBc 


173.  Florence  about  1510:  Giuliano  de  Medici  s Chair  of  State 

Prince  Demidoff’s  Collection,  Florence 


1‘liot.  lirogi 


174.  Central  Italy,  1 5th  Century:  Inlaid  Carved  Chest-Scat 


Palazzo  Davanzati,  Florence 


74 


175.  Italy  about  1600  (?):  High-Backed  Seat  176.  Florence  about  1525:  Inlaid  Carved  Throne 

Doppler  Collection,  Munich  Silten  Collection,  Berlin 


75 


Kaiser  Friedrich-Museum,  Berlin 


179.  Italian  16th  Century  Bench 

Kaiser  Friedrich-Museum,  Berlin 


■'» u<l 


iArnim'JiVmVti"  i n 


180.  Florence,  End  of  1611'  Century:  Chest-Bench 


Kaiser  Friedrich-Museum,  Berlin 


iiisiaw 


ill  ii  iii  I iiiiii  i u i i i;i;i  i 1 1 1 1 in  i mm  mm: 


Schloss-Museum,  Berlin 


Formerly  in  Julius  Bohler’s  Collection,  Munich 

181  — 182.  Florence  after  1550:  Benches 


78 


184.  Florence  about  1550:  Carved  and  Inlaid  Bench 

Kaiser  Friedrich-Museum,  Berlin 


79 


186.  Florence  after  1550:  Bench 


80 


Palazzo  Davanzati,  Florence 

187—188.  Florence  about  1550:  Carved  and  Inlaid  Benches 


81 


8. 


189 — 191.  South  Italian,  End  of  16th  Century,  Two  Double  Church  Benches  (fig.  189  is  a side  view  of  fig.  191) 

Kaiser  Friedrich-Museum,  Berlin 


82 


Phot.  Alinari 

192.  Tuscany  after  1600:  Church  Bench 


Pinacoteca,  Lucca 


193.  Florence  after  1550:  Bench  with  Sculptured  Carving 

Palazzo  Davanzati,  Florence 


Phot.  Brogi 


83 


Phot.  Brogi 

194.  Tuscany  16th  Century:  Wood  Panelling 

Baptistery,  Pisa 


Phot.  Aliunri 

195.  Florence,  Beginning  of  1611'  Century:  Sacristy  Cupboard 


S.  Croce,  Florence 


Phot.  Alinari 


196-  197.  Gothic  Painted  Corner  Cupboards  with  Doors  (renovated) 
(see  fig.  53,  55,  58) 


Palazzo  Davanzati,  Florence 


85 


Phot.  Brogi 

198.  Safe  in  the  Treasury,  about  1570 


Palazzo  Vecchio,  Florence 


86 


199 — 200.  Sacristy  Cupboards  with  Gothic  Carving 


87 


202.  Florence  about  1560:  Carved  Dresser 


mm 


88 


Kaiser  Friedrich-Museum,  Berlin 


89 


204.  Florence  about  1560:  Dresser 


Siena  about  1550 


M 


r+*  - - ; 


Central  Italy  about  1580 

205 — 206.  Carved  Dressers 


Kaiser  Friedrich-Museum,  Berlin 


91 


208.  Tuscany,  1611'  Century:  Dresser  witli  Rosette  Friezes 


92 


209.  Siena  about  1540:  Sideboard 

Kaiser  Friedrich-Museum,  Berlin 


210-  211.  Tuscany  about  1580:  Sideboards 


Kaiser  Friedrich-Museum,  Berlin 


93 


3*4 

213.  Central  Italy  after  1600:  Cupboard 


214.  Florence  about  1560:  Sideboard 


All  in  the  Kaiser  Fricdrich-Museum,  Berlin 


215  216.  Tuscany  after  1550:  Dressers 

Formerly  in  Julius  Bohler’s  Collection,  Munich 


95 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Formerly  in  the  Bardini  Collection,  Florence 

217-218.  Tuscany,  End  of  16‘>'  Century:  Sideboards 


96 


Kaiser  Friedrich-Museum,  Berlin 


97 


9. 


221  222.  Liguria  about  1600:  Richly  Carved  Sideboards 


98 


223.  Bologna,  17th  Century:  Sideboard  Studded  with  Nails 

Kaiser  Friedrich-Museum,  Berlin 


224.  Tuscany  17th  Century:  Carved  Sideboard 


Kaiser  Friedrich-Museum,  Berlin 


99 


Tuscany,  16  th  Century 


Bologna,  17th  Century 

225  226.  Sideboards  with  Tiers 


100 


227  -228.  Tuscany  Second  Half  of  16th  Century  Dressers  Ornamented 
with  Hanging  Fruit 


Formerly  in  Julius  Bohler’s  Collection 


101 


229.  Central  Italy,  16th  Century  (?):  Dresser 

Arts  and  Crafts  Museum,  Leipzig- 


230.  Tuscany  about  1575:  Richly  Carved  Dresser  with  Pillars 


102 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 

231  -232.  Chests  with  Hermes  Heads 


103 


Upper  Italy  (Milan?)  after  1600,  Formerly  Munich,  L.  Bernheimer's  Collection 

233—234.  Richly  Carved  Dressers 


104 


235 — 236.  Liguria  or  South  of  France,  late  16th  Century:  Cupboards  on  Stands 

Formerly  in  Julius  Bohler’s  Collection,  Munich 


105 


Formerly  in  Julius  Bohler’s  Collection,  Munich  Schloss-Museum,  Berlin 

237 — 238.  Liguria  or  South  of  France  after  1550:  Double-Tiered  Cupboards 


106 


239.  Umbria  about  1480:  Chest  of  Drawers 


240.  Central  Italy,  late  16lh  Century:  Dresser 

Formerly  in  Julius  Bohler’s  Collection,  Munich 


107 


241.  Central  Italy,  late  16«>  Century:  Doubled  Tiered  Cupboard  242'  Bologna  after  1600:  Tiered  Sideboard 


108 


243—244.  Cabinets  with  Pilasters 


109 


245 — 246.  Tuscany,  16th  Century:  Cabinets 


110 


Ill 


252.  Province  Emilia  about  1520:  254.  Rome  about  1550:  Cabinet 

Synagogue  Cabinet  Bardini  Collection,  Florence 

Musee  Andre,  Paris 


112 


255.  Tuscany  about  1550:  Cabinet  with  Pilasters 


Formerly  in  Julius  Bohler's  Collection,  Munich 


113 


256.  Upper  Italy,  (Brescia?)  about  1550:  Cabinet 

Schloss-Muscum,  Berlin 


10. 


114 


257.  Upper  Italy  (Venice?)  about  1560:  Cabinet 

Formerly  in  the  Bardini  Collection,  Florence 


115 


258.  Lombardy  after  1600:  Richly  Carved  Cupboard 


Castello  Sforzesco,  Milan 


116 


259 261.  Upper  Italian  early  16  th  Century:  Inlaid  Writing  Cabinet,  Mantova 


•rwy.A.ru2Tu 


117 


262.  Central  Italy  after  1550:  Writing  Cabinet  263.  Faenza  about  1500:  Writing  Cabinet 

Schloss-Museum  Berlin 


8 


264.  Rome  about  1530:  Writing  Cabinet  Bearing  the  Farnese  Arms 


Victoria  and  Albert  Museum,  London 


) 


119 


265.  Florence  (?)  after  1550:  Writing  Cabinet  Bearing  the  Castellani  Arms 

Formerly  in  the  Barilini  Collection,  Florence 


120 


266.  Florence,  End  of  16  th  Century:  Sculptured  Writing  Cabinet 


121 


267.  Liguria  about  1550:  Writing  Cabinet 


Victoria  and  Albert  Museum,  London 


268.  Upper  Italy,  late  16th  Century:  Writing  Cabinet 


Formerly  in  the  Bardini  Collection,  Florence 


123 


269.  Florence  about  1560:  Bracket  with  Coat  of  Arms 


Kaiser  Friedrich-Museum,  Berlin 


270.  Upper  Italy  after  1550:  Apothecary’s  Cupboard 


Kaiser  Fricdrich-Museum,  Berlin 


124 


271.  Siena  about  1540:  Painted  Cabinet 


Palazzo  Davanzati  Florence 


125 


272.  Upper  Italy  (?)  after  1600:  Bedstead 

Formerly  in  L.  Bernheimer’s  Collection,  Munich 


273.  Tuscany  1337  : Painted  Bedstead 


Ospcdalc  del  Ccppo,  Pistoja 


126 


Central  Italy  after  1600.  Formerly  in  L.  Bernheimer’s  Collection,  Munich 


Bologna,  17  th  Century.  Formerly  in  L.  Bernheimer’s  Collection,  Munich 

274-275.  Bedsteads 


127 


276  — 277.  Central  Italy,  16th  and  1711'  Centuries:  Cradle  with  Coat  of  Arms 
and  Short-Posted  Bedstead 


Palazzo  Dnvanzati,  Florence 


128 


278.  Florence  about  1550:  Cradle 

Figdor  Collection,  Vienna 


Phot.  Paraard 

279.  Italian  17th  Century:  Cradle 


Musee  des  Arts  Decoratifs,  Paris 


129 


280.  Upper  Italy,  17th  Century:  Crib  (?) 

Fig-dor  Collection,  Vienna 


281.  Upper  Italy,  16th  (?)  Century:  Cradle 


Palazzo  Davanznti,  Florence 


11. 


130 


Tuscan  about  1540 


Venetian  (?)  after  1500 


282—285.  Plain  Constructed  Tables 


Italian  15  th  Century 


131 


286  288.  Tuscan  after  1500:  Tables  with  Simple  Vasiform  Uprights 
(286  with  Delphins) 


Formerly  Bardini  Collection,  Horencc 


132 


Formerly  in  the  Glisenti  Collection,  Florence 


Formerly  in  Julius  Bohler’s  Collection,  Munich 

289  —290.  Tuscan  about  1550:  Tables  with  Vasiform  Uprights  Ornamented 


133 


291.  Florence,  First  Half  of  16th  Century:  Table,  Vasiform  Uprights  Ornamented 

Arts  and  Crafts  Museum,  Leipzig 


292.  Central  Italy  about  1530:  Table  with  Three  Uprights  formed  of  Double  Oblique  Volutes 

Arts  and  Crafts  Museum,  Leipzig 


134 


Venice  about  1550 


Upper  Italy  about  1600,  Formerly  in  Julius  Bbhler’s  Collection,  Munich 

293—294.  Tables  with  Volutes  on  the  Uprights 


135 


Centra!  Italy  about  1560 


Tuscan  about  1540 


295  296.  Tables  with  Simply  Curved  Uprights  and  Ornamented  Crossbars 

Formerly  in  Julius  Bohler's  Collection,  Munich 


136 


Upper  Italy  about  1550,  Kaiser  Friedrich-Museum,  Berlin 

297—298.  Tables  with  Carved  Uprights,  without  Crossbar: 


137 


299  — 300.  Florence  about  1550:  Tables  with  Carved  Uprights  and  Crossbars 

Formerly  in  the  Bardini  Collection,  Florence 


138 


301—302.  Venice,  Late  16th  Century:  Tables  with  Richly  Carved  Crossbars 

Formerly  in  the  Bardini  Collection,  Florence 


139 


Kaiser  Friedrich-Museum,  Berlii 


140 


Tuscan,  16  th  Century.  Formerly  in  Julius  Bohler’s  Collection,  Munich 


Upper  Italy  about  1600.  Paris,  Louvre 


Central  Italy,  16  th  Century.  Formerly  in  the  Barozzi  Collection,  Rome 

305  -307.  Carved  Tables  and  Front  of  Coffer 


141 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


.308  309.  Central  Italy  17 1,1  Century:  Table  with  Richly  Carved  Crossbars 


142 


Italy,  17  th  (?)  Century,  Bologna 


Phot.  Poppi 


Tuscan,  End  of  16th  Century,  Formerly  in  the  Bardini  Collection,  Florence 

310 — 311.  Richly  Carved  Tables 


143 


Florence  about  1550  Formerly  in  the  Bardini  Collection,  Florence 


Upper  Italy  about  1550.  E.  Simon’s  Collection,  Berlin 

312 — 313.  Tables  with  Arcade  Galleries 


144 


Central  Italy  after  1600 

314 — 315.  Tables  with  Oblique  Volutes  on  the  Uprights 


145 


12. 


Palazzo  Davanzati,  Florence 


146 


317.  Central  Italy  about  1600:  Table  with  Ornamented  Balustrade  Feet 

Formerly  Julius  Bohler’s  Collection,  Munich 


318.  Siena  16 tl'  Century: 
Small  Table  with  Figural  Uprights 


319.  Upper  Italy  16/17 th  Century:  Small  Table 
Ornamented  with  Chip  Carving,  Balustrade  Feet 


147 


Formerly  Bardini  Collection,  Florence 


Formerly  Bardini  Collection,  Florence 


148 


Formerly  L.  Bernheimer’s  Collection,  Munich 


Formerly  Julius  Bohler’s  Collection,  Munich 


Formerly  L.  Bernheimer’s  Collection,  Munich 

323—325.  Upper  Italy  (?)  about  1600:  Tables  with  Balustrade  Feet 


149 


326—328.  Bologna  after  1600:  Tables  with  Balustrade  Feet 

Formerly  Julius  Bohlcr’s  Collection,  Munich 


150 


Formerly  Julius  Bohler’s  Collection,  Munich 


151 


, hSS?' 


333  — 336.  Bologna  after  1600:  Tables  with  Balustrade  Feet 

Formerly  L.  Bernheimer’s  Collection  (333—335)  and  that  of  Julius  Bohler,  Munich  (336) 


152 


337—338.  Bologna  after  1600:  Round  Tables  with  Balustrade  Feet 

Kaiser  Fricdrich-Museum,  Berlin 


153 


Ai 


Venice 


Central  Italy 


339—340.  16th  Century:  Tables 

Kaiser  Friedrich-Museum,  Berlin 


154 


341 — 342.  Tuscan  16th  Century:  Tables  with  Three  Profile  Uprights 
(Top  of  341  added) 


Formerly  Julius  Bohler’s  Collection,  Munich 


155 


From  the  Bordering  Countries  Early  16th  Century 


Tuscan  about  1580 

343—344.  Tables  with  Three  Curved  Uprights 


Kaiser  Friedrich-Museum,  Berlin 


liSi 


156 


Formerly  in  the  Bardini  Collection,  Florence 

345  - 346.  Tuscan  about  1550:  Tables  with  Ornamented  Uprights 


157 


347.  Rome  16th  Century:  Inlaid  Table 

Victoria  and  Albert  Museum,  London 


348.  Florence  after  1500:  Tables  with  Four  Pedestals 

I'igdor  Collection,  Vienna 


158 


159 


160 


Siena,  about  1550 


Tuscan,  First  half  16  th  Century 

354.  355.  Tables  with  Pillar  Uprights  and  octogone  Tops 


Kaiser  Friedrich-Museum,  Berlin 


161 


Central  Italy  after  1700 


Florentine-Roman.  Second  Half  16  th  Century 

356—357.  Tables  with  Four  Traverse  Supports 

Kaiser  Fricdrich-Muscum,  Berlin 


13. 


162 


358—359.  Italy  End  of  16th  Century:  Tables  with  Balustrade-like  Feet 

Formerly  in  Julius  Bohler’s  Collection,  Munich 


163 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 


Schloss-Museum,  Berlin 


360  362.  Italian  Tables  after  1600 


164 


363 — 364.  Tuscan,  Late  16th  Century:  Sideboards 


165 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Palazzo  Davanznti,  Florence 


365  -367.  Central  Italy  about  1550:  Long  Table  (Narrow  Side),  Console  Table  and  Writing-Table 


Pliot.  Brog 

368.  Tuscan  about  1570:  Table  with  Hermes  Heads 


Palazzo  Davanzati,  Florence 


369.  Lombardy  16th  (?)  Century:  Table  with  Console  Volutes  and  Coat  of  Arms 


Bazzero  Collection 


167 


Phot.  Bl-ogi  phot.  Brogi 

370.  Lombardy  about  1550:  Inlaid  Writing-Table  371.  Florence  about  1550:  Table  Writing  Desk  and 

O.  Lanz's  Collection,  Amsterdam  High-Backed  Baldachin-Chair 


168 


Fig-dor  Collection,  Vienna 

372.  Venetian  15  th  Century  Folding  Chairs 


Bagatti -Valsecchi  Collection,  Milan 


Bagatti -Valsecchi  Collection,  Milan 


Sehloss-Museum,  Berlin 


373—375.  Upper  Italy  about  1560:  Chairs,  Carved  or  with  Bone  Inlays 


169 


r • •• 


Schloss-Museum,  Berlin  Bardini  Collection,  Florence 


Fijrdor  Collection,  Vienna 


376  — 379.  Tuscan  16th  Century:  Chairs  with  Bent  Backs 


170 


cC 

CO 

G 

CO 

-4— * 

G 

O 


G 

u 


co 


VO 


13 


<L> 

CL 

CL 

D 

<D 

G 

o 


T5 


CN 

00 

CO 


o 

GO 

CO 


171 


172 


Schloss-Museum,  Berlin 


Fig-dor  Collection,  Vienna 


Bardini  Collection,  Florence 

385 — 388.  Italian,  16th  and  17th  Centuries:  Richly  Carved  Chairs 


173 


389—390.  Central  and  Upper  Italy  after  1550:  Richly  Carved  Chairs  with  Straight  Backs 


Formerly  in  Julius  Bohler’s  Collection  Munich 


-rMf 


174 


391  -392.  15th  and  16th  Century:  Bronze  and  Iron  Folding  Chairs 

Formerly  L.  Bernheimer's  Collection,  Munich 


Phot.  Brogi 

Museo  Nationale,  Florence  Schloss-Museum,  Berlin 

393-394.  Tuscan  (?)  about  1500:  X Stool  and  Chair 


175 


Fig-dor  Collection,  Vienna 


395 — 398.  Upper  Italy  and  Tuscan  15th  and  16"'  Centuries:  X Chairs 


Museo  S.  Marco,  Florence 


176 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Phot  Brogi 

Palazzo  Davanzati,  Florence 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Louvre,  Paris 


Phot.  Pamard 


399—402.  Italy  16th  and  17th  Centuries:  Carved  Folding  Chairs 


177 


Eilers’  Collection,  Berne 


O.  Lanz’s  Collection,  Amsterdam 


Fig-dor  Collection,  Vienna 


403—405.  Upper  Italy,  16 1,1  Century:  Folding  Chairs,  Inlaid  Certosina  Work 


14. 


178 


I'liot.  Brogi 

So-called  Andrea  del  Sarto  Chair 


Phot,  Brogi 


Chf 


dth  Box-Seat  and  Arms 


Phot.  Brogi 


Simple  Chairs  with  Openwork  Backs 

406— 408.  Tuscan  16th  Century:  Palazzo  Davanzati,  Florence,  Chairs 


179 


National-Museum,  Darmstadt 


Formerly  in  Julius  Bohler's  Collection,  Munich 

409—411.  Florence  and  Venice,  16 4,1  and  17th  Centuries:  Chairs  with  Gallery  and  Pillar  Backs 


180 


412  — 415.  Central  Italy  after  1550:  Chairs  with  Openwork  Backs 


181 


Formerly  in  Julius  Bohlcr’s  Collection,  Munich 


416  — 419.  Italian  Chairs  16  th  and  17  th  Centuries 


182 


Fromerly  in  Julius  Bohler’s  Collection,  Munich 


Schloss-Museum,  Berlin 


Formerly  in  Julius  Bohler’s  Collection,  Munich  Formerly  in  L.  Bernheimer’s  Collection,  Munich 

420 — 423.  Italy,  16th  and  17th  Centuries:  Chairs  Mounted  in  Pressed  Leather  or  Velvet 


183 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Phot.  Brogi 

Gastello  Vincigliata,  Florence 


Formerly  in  Julius  BohW.  Collection,  Munich  Formerly  in  Julius  B8HW.  Collection,  M eh 

424—427.  Central  Italy.  16"'  and  17*  Centuries:  Armchairs  Mounted  in  Leather  or  Velvet 


184 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 


428-  431.  Italian,  17th  Century:  Carved  Armchairs 


Genoa,  End  of  16  th  Century 


Bologna  about  1600 


Tuscan,  End  of  16  th  Century  Tuscan,  End  of  16  th  Century 

432 — 435.  Carved  Armchairs  Mounted  in  Leather 


Kaiser  Fricdrich-Muscum,  Berlin 


186 


436 — 438.  Italian,  17th  Century:  Armchairs  Mounted  in  Pressed  and  partly  gilded  Leather 


187 


Armchair,  Embroidered  Cushions,  Heavy  Fringes 


188 


442—443.  Italy,  16th  and  17th  Centuries:  Armchair  Mounted  in  Rich  Pressed  Leather  and  Folding-Chair 

Figdor  Collection,  Vienna 


189 


444 — 445.  Italy,  17th  Century:  State  Chairs 

Fig'dor  Collection,  Vienna 


190 


Figdor  Collection,  Vienna  Figdor  Collection,  Vienna 

446 — 449.  Italy,  17th  Century:  Armchairs  and  X Chairs 


191 


450 — 453.  Upper  Italy,  End  of  16th  Century:  Chairs  witli  Openwork  Carving 

Formerly  Julius  Bohler’s  Collectione,  Munich 


O 


192 


454—455.  Lombardy  (?)  after  1600:  Chairs  with  Cartouche  Carving 

Museo  Nazionale,  Florence 


193 


15. 


194 


195 


461  — 463.  Pilasters  and  Reading  Desk 

Kaiser  Friedrich-Museum,  Berlin 


196 


464  467.  Pilasters  and  Candlestick 

Kaiser  Friedrich-Museum.  Berlin 


197 


Formerly  in  Julius  Bohler’s  Collection,  Munich  Arts  and  Crafts  Museum,  Frankfort  on  Maine  Victoria  and  Albert-Museum,  London  Formerly  in  Julius  Bolder  s Collection,  Munich 

468  — 471.  Central  Italy,  16th  and  17th  Century:  Large  Carved  Gilt  Candlesticks 


198 


Central  Italy,  16  th  Century 


Italy,  End  of  16th  Century 


Italy,  17  th  Century 


Upper  Italy,  Late  16  th  Century 


472—475.  Carved  Consoles 

Kaiser  Friedrich-Museum,  Berlin 


199 


Formerly  in  the  Bardini 
Collection,  Florence 


Formerly  in  Julius  Bohler’s 
Collection,  Munich 


476_479.  Upper  and  Central  Italy  16th  and  1 7 ,h  Century:  Wallstands  and  Socles 


200 


480. 16th  (?)  Century:  Mirror  Frame  481.  Venice,  16th  Century:  Restello 

O.  Lanz’s  Collection,  Amsterdam  Formerly  in  A.  v.  Beckerath’s  Collection,  Berlin 


201 


482.  485.  Standing  Mirrors,  carved  or  painted.  483.  484.  Intarsias  from  Choir-Stalls  of  fig.  155 

Kaiser  Friedrich-Museum,  Berlin 


202 


Victoria  and  Albert  Museum,  London 


486 — 487.  Siena,  Picture  Frame,  Richly  Carved,  about  1500.  In  the  Middle:  Central  Italy,  Mirror  Fiame  about  1500, 

supposed  to  have  belonged  to  Lucrezia  Borgia 


203 


488.  Florence  (?)  16th  Century:  Head-Piece 

Schlofi-Museum,  Berlin 


489.  Michelangolo : Holy  Family  (about  1503)  in  Original  Frame 


204 


Florence  about  1425.  Kaiser  Friedrich-Museum,  Berlin 


Florence,  16  th  Century 


Lombardy  after  1500.  Kaiser  Friedrich-Museum,  Berlin 


Siena  (?)  after  1500.  Kaiser  Friedrich-Museum,  Berlin 


490 — 493.  Small  Tabernacle  Frames 


205 


494  497.  Small  Picture  and  Mirror  Frames 

Kaiser  Fricdricli-Muscum,  Berlin 


£ 


206 


207 


Formerly  in  the  Bardini  Collection,  Florence 


208 


\%mm 


Tuscan,  Kaiser  Friedrich-Museum,  Berlin 


Tuscan 


502  -505. 16th  Century:  Medium  Sized  Picture  Frames,  Painted  or  Carved 


209 


Tuscan  after  1525 


Tuscan  about  1500 


Venice  about  1500 


Venice  after  1500 


595 — 509.  Mirror  Frames  Carved  and  Painted 

Kaiser  Fricdrich-Museum,  Berlin 


16. 


210 


Siena  about  1550.  Formerly  in  Julius  Bohler's  Collection,  Munich 


mice  about  1550.  Figdor  Collection,  Vienna 


Florence  after  1560.  Fig-dor  Collection,  Vienna 


CIO S10  f avuei d Picture  Frames 


211 


513— 514.  Venice  after  1550:  So-called  S an  so  v in  a Frames 


212 


515.  Giuliano  da  Maiano  and  Francione:  Folding-Door  with  Figural  Intarsias,  about  1470 


Kaiser  Friedrich-Museum,  Berlin 


213 


Phot,  Brogi 

516.  Giuliano  da  Maiano  and  Francione:  Folding-Door  with  Intarsias  1475  to  1481 

Sain  dei  Gigli,  in  the  Palazzo  Vecchio,  Florence 


214 


517 — 518.  Upper  Italy,  16th  Century:  Two  Folding-Doors  with  Ornamental  Intarsias 


Formerly  in  L.  Bernheimer’s  Collection,  Munich 


215 


Pilot.  Alinnri 


519.  Giovanni  di  Michele  (?):  Folding-Door  Carved  and  Inlaid  about  1450 


S.  Croce,  Corridor  to  Sacristy,  Florence 


216 


520.  Piedmont  about  1550:  Door  Panel  Carved  in  Low  Relief 

Museo  Civico,  Turin 


217 


521.  Benvenuto  Torelli:  Sacristy  Door  and  Boiserie  1560  to  1575 


Choir  of  St.  Sevcrino,  Naples 


218 


• niy*ViyAiy*tirf<ii 


\'A< l^J.4 i fl  T< 4 .»I«  HUV,<<  ,/*»,.-  •••>■■  . u tiiri:***-*  V 

? *VV  ww  VMVV><v  v vv-i 


;r;7,v  .v  V".  r^gg| 


vV'y  V'V'.'? 


• i •m*TT» «r«  i i.t«i  V* [<  7 •■*  g * wi  lMSF  1 5^-7!»jrj* 


........o. 

•WA'N-VV  1 


'^V\W:\-ii  V\  Vv  vs  N v\  V V V \ A V.>WV\<  V 

-M  M«!Wiimim1|li  "Mtmm'-m'riuiii'im'n'M-i — "■■i'i-nnWi  ;i.^  UT.r 

)'  L J J iM  A V--W-4J  -kJI  -JLl  -XJ  W *><l  . I | 


avftVfir. 


V I V I S-tV’tX 


' ^ ' • > ' ^ ’ v •■!».’  ne* . i 

intnrmifii'KitomMiMuiiniuutnfi 


imo.iui 


O 

m 


in 

CN 

m 


About  1600 

522  — 524.  Tuscan  and  Central  Italy:  Folding-Doors  Carved  or  Inlaid 

E.  Simon’s  Collection 


B3SES 


219 


Sacristy,  Lucca  of  S.  Frediano  Schloss  Museum,  Berlin  Museo  d’Antichita,  Parrra 

525  - 527.  Italian,  16th  and  17th  Centuries:  Richly  Carved  Door  Panels 


220 


528.  Giuliano  da  Maiano : Door  Panel  Richly  Carved  529.  Tuscan  about  1480:  Limestone  Portal  and 

and  Inlaid  about  1480  Carved  Door  Panel 

E.  Simon’s  Collection,  Berlin  Kaiser  Friedrich-Museum,  Berlin 

Both  pieces  from  the  Palazzo  Ducale,  Gubbio 


221 


530  —531.  Bergamo,  Beginning  of  16th  Century:  Portals  Richly  Ornamented  in  Relief 

Kaiser  Friedrich-Museum,  Berlin 


222 


532.  Genoa  15th  Century:  Portal  of  St.  George  533.  Florence  about  1500:  Portal  with  Arms  of  the  Canigiani 

Kaiser  Friedrich-Museum,  Berlin 


223 


534  -535.  Portals  of  Limestone  and  Coloured  Marble 


224 


536 — 537.  Venice,  Beginning  of  16  th  Century:  Wall  Fountains  of  Limestone  and  Marble 

Kaiser  Friedrich-Museum,  Berlin 


225 


17. 


226 


540.  Florence  about  1475:  Fireplace  of  Green  Sandstone  by  Francesco  di  Simone  Ferrucci 


541.  Venice  about  1560:  Fireplace  of  Istrian  Limestone  (manner  of  Jacopo  Sansovino) 


Kaiser  Friedrich-Museum,  Berlin 


227 


Phot.  Alinari 


542.  After  the  manner  of  Desiderio  da  Settignano : Marble  Fireplace  after  1450 

Victoria  and  Albert-Museum,  London 


Phot.  Kmllln 

543.  Tuscan  after  1450:  Marble  Fireplace  by  Michelozzo 


Palazzo  Davanzati,  Florence 


228 


».  c >..( ) i ) _( ).( >.  .u.()()..(  m i 


su  u«  ut  >u  jujju 


»J» 


Phot.  Brogi 

544.  Upper  Italy  after  1550:  Marble  Fireplace 

Villa  S.  Michele  in  Bosco,  Bologna 


545.  Giuliano  da  Sangallo:  Marble  Fireplace,  about  1510 

Palazzo  Gondi,  Florence 


229 


546.  Benedetto  da  Rovezzano:  Sandstone  Fireplace  after  1500 


Musco  Nazionale,  Florence 


230 


Tuscan,  Middle  16th  Century 


Venice,  End  of  16th  Century 

547 — 548.  Fireplaces 


Formerly  in  Julius  Bohler’s  Collection,  Munich 


M 


231 


549  — 550.  Italy,  Late  16th  Century:  Fireplaces 

Formerly  in  L.  Bernheimcr’s  Collection,  Munich 


232 


552— 554.  Central  Italy,  End  of  15th  Century: 

Stone  Friezes  for  Doors  with  Arms  of  the  Montefeltro  of  Urbino 


Victoria  and  Albert  Museum,  London 


233 


555.  Urbino  (?)  about  1475:  Low  Relief  in  Limestone 


556  — 558.  Venice  and  Central  Italy,  15th  Century:  Coat  of  Arms,  Carved  in  Stone 


559.  Urbino  after  1550:  Limestone  Frieze,  Part  of  a Fireplace  (?) 


Kaiser  Fricdrich-Muscum,  Berlin 


234 


"O 

O 

O 

<v 

'~0 


S 

< 


O 'o 


03 

C 

V 


Oh  C 

03  O 


Oh  CO 


CO 


c 

a; 

U 


CO 


c 

03 


O 

m 

m 


CN 

'sO 

m 


c 

<v 

> 


\o 

m 


Kaiser  Friedrich-Museum,  Berlin 


235 


Kaiser  Friedrich-Museum,  Berlin 


236 


Formerly  in  the  Bardini  Collection,  Florence 


Formerly  in  the  Bardini  Collection,  Florence 


Arts  and  Crafts  Museum,  Berlin  Formerly  in  the  Bardini  Collection,  Florence 

568 — 571.  Italy,  16th  and  17th  Centuries:  Embroidered  Silk  Cushions 


572.  Italy,  16th  Century:  White  Linen  Coverlet 


Arts  and  Crafts  Museum,  Berlin 


237 


573 — 576.  Italian,  15th  and  16th  Centuries:  White  and  Blue  Hand-Woven  Linen, 
Embroidered  in  Red  on  White  Linen  (576) 


Arts  and  Crafts  Museum,  Berlin 


238 


577  — 580.  Italian,  16th  and  17th  Centuries:  Small  Patterned  Velvet  and  Silk  Damask 


239 


581  — 584.  Italian,  16th  and  17th  Centuries:  Damask,  Probably  Wall  Covering 


240 


585  — 586.  Italian,  End  of  16th  Century:  Large  Patterned  Silk  Damask 


587  -588.  16th  and  17th  Centuries:  “Spanish  Leather  Wall  Covering” 


Arts  and  Crafts  Museum,  Berlin 


241 


589.  A.  Ricclo  (Venice  after  1500).  Bronze  Door  Handle 
Berlin,  Kaiser  Friedrich-Museum 


EXPLANATORY 


Abbreviations 

Bode  = Bode,  Wilhelm,  Die  italienischen  Hausmobel  der  Renaissance.  2.  Edition. 
1920. 

Cicerone  = Burckhardt,  Jakob,  Der  Cicerone.  10th  Edition,  edited  by 
W.  Bode  and  C.  v.  Fabriczy.  Leipzig-  1910. 

Erulei  = Erulei,  Raffaele,  Catalogs  delle  opere  d’intaglio  e intarsio  in  legno 
esposte  nel  1885  a Roma.  Roma  1885. 

Finocchietti  = Finocchietti,  Demetrio,  Carlo.  Della  scultura  e tarsie  in  legmo. 

Florence  1873. 

Geymiiller  = Stegrnann,  Carl  von,  and  Heinrich  von  Geymiiller,  Die  Architek- 
tur  der  Renaissance  in  Toscana.  Munich  since  1885. 

Lessing  = Lessing-,  Julius,  Vorbilderhefte  aus  dem  Kgl.  Kunstgewerbe- Museum. 
Berlin  1889-1905. 

Robinson  = Robinson,  J.  C.,  Italian  Sculpture  of  the  Middle  Ages  and  Period 
of  the  Revival  of  Art.  South  Kensington  Museum.  London  1862. 

Schubring  = Schubring,  Paul,  Cassoni.  Truhen  and  Truhenbilder  der  italieni- 
schen Renaissance.  Leipzig  1915. 

Stegrnann  = Stegrnann,  Carl  von,  Holzmobel  der  Sammlung  Figdor.  Kunst 
und  Kunsthandwerk.  No.  X.  Vienna  1907. 

Kiinstler-Lex.  = Thieme,  Ulrich  and  F.  Becker:  Allgemeines  Lexikon  derbildenden 
Kiinstler.  Leipzig  since  1907. 

Vasari  = Vasari,  Giorgio,  Die  Lebensbeschreibungen  der  beriihmtesten  Archi- 
tekten,  Bildhauer  und  Maler.  German  Edition  by  A.  Gottschewski  and 
G.  Gronau.  Strabburg  since  1906. 

Jahrbuch  = Jahrbuch  der  kgl.  preufi.  Kunstsammlungen.  Berlin. 

Amtl.  Berichte  = Amtliche  Berichte  aus  d.  kgl.  preufi.  Kunstsammlungen.  Berlin. 
Bardini  = Catalogue  des  Objets  d’Art  . . . Collection  Bardini  de  Florence. 
Vente  a Londres  chez  Mr.  Christie,  5.  VI.  1899  and  ibid.  Vente  a Londres 
chez  Mr.  Christie,  27.  V.  1902. 

Beckerath  = Residue  of  Alfred  von  Beckerath.  Rud.  Lepkes  Art  Auction  House. 
Catalogue  No.  1755.  Berlin  1916. 

Introductory  Notice 

The  figures  at  the  end  of  a description  of  a single  object  of  art  refer  to  the 
catalogue,  or  the  inventory  number  of  the  respective  museum  With  objects 
in  the  Victoria  and  Albert  Museum  in  London  the  second  figures  refer  to  the 
date  of  acquisition  (e.  g.  69  = 1869).  Measurements  are  given  in  feet  and 
inches  when  taken  from  English  catalogues,  otherwise  they  are  everywhere 
given  in  metres.  Where  the  present  whereabouts  of  an  object  could  not  be 
traced,  the  name  of  the  last  known  owner  has  been  retained.  In  cases  where 
many  illustrations  are  reproduced  on  one  Plate,  the  name  of  the  locality  is 
printed  beneath  the  titles;  this  is  good  for  all  pieces  reproduced  on  one  and 
the  same  place.  On  the  other  hand  when  the  name  of  the  locality  is  printed 
close  beneath  a particular  object,  it  refers  to  this  one  alone. 

Page  IV.  Statuette  of  a Lion.  Wood.  Height  0,14.  Body  pain- 
ted bronze,  mouth  and  teeth  in  natural  colours.  Venice  (?) 
after  1600.  (Beckerath  No.  169.) 

No.  1.  Pietra  serena.  Height  0,48,  breadth  1,43.  (Beckerath 
No.  32.) 

No.  3 & 4.  From  the  Hypnerotomachia  by  Fra  Francesco 
Colonna.  Venice  1499.  Published  by  Aldus  Manutius. 

No.  8.  Masterpiece  of  the  Dido  Master.  Schubring  No.  222, 
page  273. 

No.  9 & 10.  From  Bartolomeo  Scappi’s  Dell’  Arte  dell  Cuci- 
nare  con  il  Mastro  di  Casa  e Trinciante.  Venice  1643. 

No.  11.  Height  0,33,  breadth  0,71.  (Beckerath  No.  137.) 


No.  12  & 13.  Marble.  Height  1,09  minus  the  added  horizontal 
stone,  supports  above  and  below.  Breadth  0,94.  School  of 
Mino  da  Fiesole. 

No.  14.  Canvas,  painted  in  diverse  colours.  Height  1,85, 
breadth  0,77. 

No.  15.  Executed  after  a model  made  by  Battista  Lorenzi  in 
1585. 

No.  17.  Iron.  The  largest  key  0,13,  in  length. 

No.  18.  Firwood.  Height  0,58,  breadth  0,89,  depth  0,49. 

No.  19.  Alder  or  poplarwood.  Height  0,60,  breadth  1,69, 
depth  0,47 ; mounted  in  red  velvet,  border  of  stucco  reliefs. 

No.  20.  Walnut-wood.  Height  0,26,  breadth  0,865,  depth  0,25. 

No.  21.  Height  0,65,  breadth  1,00. 

No.  23.  Walnut-wood,  stained  brown.  Height  0,27,  breadth 
0,465,  depth  0,33. 

No.  26.  Walnut-wood.  Height  0,475,  breadth  and  depth  0,33; 
gilded. 

No.  28.  Height  5 s/4  inches,  diameter  1 3 V4  inches. 

No.  29.  Bernardo  Buontalenti  (1536—  1608).  Design  for  fig.  134 
or  a like  object. 

No.  30.  Sepia  pendrawing.  Inscription  Spanish,  but  from  the 
style  of  the  design  it  may  have  been  made  by  one  of  the 
numerous  Italian  artists  living  in  Spain. 

No.  31.  Height  3,60,  breadth  2,95.  Painted  for  the  Scuola  di 
San  Giovanni  Evangelista. 

No.  32.  Originally  in  the  Vatican  library. 

No.  33.  Height  6 ft  10  7,  inches,  breadth  4 ft  10  '/„  inches. 

Signed  below  Opus  Caroli  Crivelli  Veneti  1486.  Painted  for 
S.  S.  Annunziata  in  Ascoli. 

No.  34.  Fresco.  (Compare  this  with  X and  XXIV  1.9.) 

No.  35.  As  owing  to  the  moist  air  of  Venice  frescoes  did  not 
keep  long  the  large  wall  paintings  such  as  this  since  the 
end  of  XVth  century  were  done  on  canvas.  Originally  in 
the  Scuola  di  S.  Orsola. 

No.  37.  Compare  Schubring;  Urbano  da  Cortona,  Strassburg. 
1903,  p.  35  ff. 

No.  38.  hresco.  Panelling  ornamented  with  intarsias.  Bed-chests. 

No.  39.  Wrongly  attributed  to  Ghiberti  by  Robinson  (No.  7593). 

No.  40.  This  picture  was  in  1529  in  the  Collection  of  Antonio 
Pasqualino  in  Venice.  Height  1 foot  6 inches,  breadth  1 ft 
2'/8  inches.  Catalogue  of  the  National  Gallery,  London, 
Foreign  Schools  No.  1418. 

No.  41.  Fresco.  A fireplace  with  reliefs.  Dated  1514. 

No.  42.  Fresco. 

No.  43.  Bedroom.  Ferrara,  after  1580  (compare  fig.  30). 
A similar  picture  by  the  same  artist  is  in  the  Palazzo  Pitti, 
Florence. 


18 


No.  44.  Canvas,  height  1,41,  breadth  2,18.  Signed  Victor 
Carpathius  pingebat. 

No.  45.  Canvas.  Till  1657  in  the  Refectory  of  the  monastery 
of  the  Crociferi. 

No.  46.  According  to  Bombe  (Perugio  page  68)  done  between 
1390  and  1403.  The  office  table  (to  the  right)  was  origi- 
nally in  the  Guild  of  Notaries,  but  perhaps  it  was  from  the 
same  workshop. 

No.  47  — 60.  Palazzo  Davanzati,  Florence,  or  Palazzo  Davizzi 
from  the  name  of  its  first  owner.  The  members  of  this 
family  till  the  beginning  of  the  XVI century  built  large 
roof  loggias,  the  Palazzo  dates  from  the  XIV 1,1  century. 
In  1516  it  came  into  the  possession  of  the  Bartolini-Salim- 
beni  family,  in  1576  it  passed  over  to  Bernardo  Davanzati. 
His  last  descendent  died  in  1838.  The  palace  was  opened 
as  a museum  in  1911,  after  having  been  restored  by  Elia 
Volpi,  the  present  owner.  During  restoration  many  old  and 
valuable  wall  paintings  came  to  light.  The  rooms  are  named 
after  these  decorative  paintings;  in  the  bed-room  in  the 
third  floor  (figs.  58  -60)  the  walls  show  pictures  illustrating 
Vergi’s  Story  of  the  Chatelaine;  probably  these  were  painted 
on  the  occasion  of  the  marriage  of  Catelana  degli  Alberti 
to  Francesco  di  Tommaso  in  1395.  (See  Bombe  „Mit- 
teilungen  des  Kunsthistorischen  Instituts  in  Florenz“,  Berlin, 
1912,  Vol.  II,  pp.  1 — 26.)  Part  of  the  furnishings  were  sold 
by  auction  to  America  during  the  world  war,  and  later 
replaced  by  other  good  examples  of  the  Italian  renaissance. 
(See  ,,Les  Arts"  No.  116,  August  1911.) 

No.  62.  I he  small  windowless  room  was  intended  for  an 
alchemist’s  study.  The  painted  cupboard  doors  around  the 
room,  the  bronze  statuettes  and  the  frescoes  above  represent 
technical  discoveries  and  related  subjects,  besides  family 
portraits.  The  study  was  only  rediscovered  some  years  ago 
and  restored  as  it  originally  was,  by  bringing  the  pictures 
from  San  Salvi  and  the  sculpture  from  the  Museo  Nazionale, 
Florence.  (Rusconi,  Les  Arts,  No.  110,  February  1911, 
p.  1-7.) 

No.  63.  The  quarters  named  after  Pope  Leo  X (the  chief  room 
is  here  reproduced)  are  by  Vasari,  who  directed  the  buil- 
ding from  1555.  The  walls  of  light  greygreen  marble  with 
pale  pink  and  light  red  decorations  between.  Vasari’s  fres- 
coes represent  scenes  from  the  lives  of  the  Popes.  Marble 
busts  of  Clemens  VII  and  Giuliano  Medici  by  Alfonso 
Lombardi,  and  those  of  Leo  X and  Lorenzo  Duke  of  Urbino 
by  later  sculptors,  are  over  the  doors.  (Vasari,  VII,  p.  187 
and  Geymiiller,  IX,  pp.  2 and  4.) 

No.  64.  The  former  antique  hall  built  by  Giulio  Romano 
between  1525  and  1531,  is  most  richly  ornamented  with 
grotesque  paintings  and  stucco  reliefs. (Cicerone  pp.256 — 257.) 

No.  65.  The  Scuola  was  built  in  1451  and  was  founded  by 
Illyrian  seamen  in  the  Monastry  S.  Giovanni  di  Gerusaleme; 
it  was  newly  built  in  1501;  between  the  years  1502  and 
1507  Carpaccio  decorated  it  with  nine  paintings  of  which 
one  is  here  reproduced  (fig.  44)  vide  Hadeln,  Kiinstler- 
Lexicon  VI,  p.  37. 

No.  66.  Wall-paintings  by  Aliense  and  Marco  Vecellio.  The 
ceiling  pictures  were  originally  by  Paolo  Veronese,  but  the 
centre  picture  was  taken  away  by  the  French  in  1797  and 
is  now  in  the  Louvre.  It  has  been  replaced  by  a copy  by 
G.  Carlini. 

No.  67.  Wall-paintings,  to  the  right  Paolo  Veronese’s  Rape 
of  Europe.  Next  to  the  door,  to  the  right  Jacopo  Tintoretto’s 
Minerva  and  Bacchus,  Ariadne  and  Venus. 

No.  69.  Breadth  1,42.  Nun’s  chest  from  San  Maria  Nuova, 
Florence. 

No.  70.  Breadth  1,68. 

No.  71.  Height  2 ft  5 in.,  breadth  5 ft  10  '/«,  in.,  depth  1 ft 
11  in.  Light  toned  stucco  reliefs,  ground  gilded. 


No.  72.  Height  0,46,  breadth  1,50,  depth  0,48,  from  same 
place  as  69. 

No.  73.  From  San  Maria  Nuova,  Florence.  Arms  of  the  Cap- 
poni-Bonciani  and  Larioni.  A very  similar  chest  is  in  the 
Victoria  and  Albert  Museum,  London.  Nos  317  — ’94 
(Schubring  No.  17,  p.  222  and  Schiapparelli,  p.  260). 

No.  74.  After  stuff  patterns,  height  0,68,  breadth  1,75.  (Mit- 
teilungen  des  Stadt.  Kunstgewerbe  - Museums , Leipzig. 
4.  VI.  1913,  p.  38  and  Schubring  No.  8,  p.  220.) 

No.  75.  Front  of  Chest.  Height  0,39,  breadth  1,65. 

No.  77.  Walnut-wood.  Height  0,87,  breadth  1,70,  depth  0,58. 
Gold  on  a blue  ground.  A chest  nearly  corresponding  to  this 
with  small  details  in  relief  on  the  feet,  is  in  the  Victoria 
and  Albert  Museum,  London.  (See  p.  XVII  of  the  present 
work.) 

No.  78.  Height  1,09,  breadth  below  1,32,  depth  0,62.  Exterior 
now  redbrown;  interior  gilded  and  painted.  In  the  centre 
of  the  front  South  Tyrol  scroll-work.  The  stars  are  formed 
of  oriental  motives  but  filled  in  with  scroll-work  motives. 
The  inside  of  the  lid  shows  painted  ornaments  in  the  style 
of  the  early  Italian  renaissance.  Interior  richly  ornamented. 
J.  v.  Falke,  Official  reports  (Amtliche  Berichte)  1909,  p.  284. 

No.  79.  Height  0,46,  breadth  1,68,  Art  of  A.  Pollaiuolo. 
(Schubring  No.  69,  p.  233.) 

No.  80.  Schubring,  No.  755,  p.  39. 

No.  82.  Height  23  in.,  breadth  5 ft  9 in.,  depth  23  l/°  in.,  Nos 
52—81. 

No.  83.  Height  1,96,  breadth  0,59,  According  to  Schubring 
(No.  697,  p.  379)  by  Nice  Giolfino,  after  Trecca  (Catalogue 
of  the  Museo  Civico  1912,  p.  20  says  by  Liberale  da 
Verona). 

No.  84.  According  to  Schubring,  No.  630,  p.  364 — 365,  painted 
by  Montagna:  subject  Roman  legends  of  chastity. 

No.  85.  Painted,  partly  gilded.  Height  0,64,  breadth  1,875, 
depth  0,53.  Scenes  from  the  Romulus  saga.  Schubring, 
No.  890,  p.  418. 

No.  86.  Height  0,46,  breadth  1,24,  depth  0,49. 

No.  87  88.  Height  0,57,  breadth  1,23.  Interior  richly  fitted 

up.  (Schubring,  No.  740/1,  p.  387.) 

No.  89.  Walnut-wood.  Height  0,50,  breadth  behind  1,66,  depth 
0,45.  Intarsias  on  a dark  ground.  A very  similar  chest  is 
in  the  Schloss-Museum,  Berlin. 

No.  90.  Walnut-wood.  Height  0,84,  breadth  1,93,  depth  0,73. 
Intarsias  in  colored  wood.  A very  similar  chest  in  Frankfort 
on  the  Maine,  Liebighaus. 

No.  91.  Walnut-wood.  Height  0,52,  breadth  and  depth  of  cover 
2,34  and  0,42.  A replica  is  in  the  Ned.  Museum  voor  Ge- 
schiedenes  en  Kunst,  Amsterdam. 

No.  92.  Walnut-wood,  stained  light  brown.  Height  0,87,  breadth 
2,13,  denth  0,71.  The  cover  has  a border  of  tendrils.  A 
very  similar  chest  with  castles  in  the  fillings  is  in  the  Ca- 
stello  Sforcesco,  Milan.  (See  No.  94.) 

No.  93.  Walnut-wood.  Height  22  in.,  breadth  6 ft  1 in., 
depth  19  7»  in.  Intarsia  frieze  and  black  painted  ornaments. 

No.  94.  Walnut-wood.  Height  2 ft  10  in.,  breadth  7 ft,  depth 
2 ft  9 in.  The  cover  bears  the  arms  of  the  Rospigliosi  family, 
Rome.  Came  from  a villa  belonging  to  this  family,  in  Pistoia. 

No.  95.  Height  0,75,  breadth  1,92,  depth  0,74. 

No.  96.  Walnut-wood.  Wood-carving  partly  gilded  over.  Height 
1,04,  breadth  2,23,  depth  0,70.  Made  for  Maria  Medici  on 
the  occasion  of  her  marriage  with  a Strozzi  in  1512.  (Schub- 
ring No.  795,  P.  399.) 

No.  97.  A present  from  Sigismondo  Maletesta  to  Isotta  da 
Rimini.  (Schubring  No.  557,  p.  351.) 


243 


No.  99  & 100.  So-called  Champleve-technique : No.  99  Sub- 
ject Annunciation  and  tendrils.  Height  0,38,  breadth  0,55, 
depth  0,27/Bode  pp.32— 3 and  Stegrnann  pp.  137, 8,  No.  100. 
Height  0,60,  breadth  1,825,  depth  0,57.  (Schubring  No.  743, 
p.  388.) 

No.  101.  Walnut-wood.  Height  0,62,  breadth  1,91,  depth  0,58. 
After  Peruzzi.  Very  similar  chests  in  the  National  Gallery, 
Munich  and  in  Rome. 

No.  102.  Walnut-wood.  Height  0,59,  breadth  1,92,  depth  0,60. 
(Compare  this  with  pp.  XX  and  XXXI.) 

No.  103.  Walnut-wood.  Height  0,56,  breadth  1,70,  depth  0,54. 
Remains  of  old  gilding  perceptible  in  the  wood-carving. 

No.  104.  Walnut-wood.  Height  0,98,  breadth  1,95,  depth  0,71. 
The  front  is  almost  identical  and  of  like  execution  as  the 
desk-like  cabinet  in  Cambio,  Perugia.  Domenico  del  Tasso 
1490  — 1493.  (Schottmiiller,  Amtl.  Berichte  XXXIX.  1917 — 18, 
pp.  88/9.) 

No.  105.  Walnut-wood.  Height  0,465,  breadth  1,51,  depth  0,47. 
Style  and  origin  the  same  as  Nos  101  and  103. 

No.  106.  Walnut-wood.  Height  0,65,  breadth  1,69,  depth  0,58. 
The  arms  are  those  of  the  family  of  Borsa  belonging  to 
Verona  and  Lodi. 

No.  107.  Walnut-wood.  Height  0,56,  breadth  1,71,  depth  0,56. 
Compare  the  more  richly  ornamented,  partly  of  a later  date, 
chests  of  this  type,  Nos  112  and  133. 

No.  108.  Walnut-wood.  Height  0,75,  breadth  1,77,  depth  0,55. 
The  decoration  is  typical  for  Bologna,  but  is  also  to  be 
met  with  in  Central  Italy. 

No.  109.  Walnut-wood.  Height  0,56,  breadth  1,55,  depth  0,45. 
Ornament  wood-carving  and  an  Intarsia  ground.  Arms  of 
the  Crescenzi  family,  Rome.  But  the  chest  was  made  in  Siena. 

No.  110.  Walnut-wood.  Height  0,55,  breadth  (behind)  1,80  and 
1,46,  depth  0,46.  Compare  this  with  p.  XXXI. 

No.  111.  Walnut-wood  (?).  Height  0,63,  breadth  1,75,  depth 
0,58.  Comes  from  the  neighbourhood  of  Brescia. 

No.  112.  Walnut-wood  (?).  Height  0,52,  breadth  1,07,  depth 
0,54.  A chest  similar  in  form  and  ornamentation  in  the 
Schwerin  Museum.  Schubring  (882)  considers  it  Venetian 
of  about  1540. 

No.  113.  Walnut-wood.  Height  0,63,  breadth  1,75,  depth  0,575. 
The  light  stucco  in  imitation  of  intarsias  is  typical  for  Bo- 
logna after  1550. 

No.  116.  Walnut-wood.  The  sides  plain.  Height  0,55,  breadth 
1,69,  depth  0,53.  Feet  falsely  added.  (Compare  Nos  117 
and  118.) 

No.  117.  Walnut-wood.  Height  0,57,  breadth  1,76,  depth  0,53. 

No.  118.  Walnut-wood.  Height  0,57,  breadth  1,70,  depth  0,55. 

Sides  plain. 

No.  120.  Height  0,57,  breadth  1,73,  depth  0,54. 

No.  121.  Height  0,51,  breadth  1,40,  depth  0,44  (compare  here 
with  p.  XIX). 

No.  122.  Walnut-wood.  Height  0,63,  breadth  1,71,  depth  0,65. 

No.  123.  Walnut-wood.  Height  0,62,  breadth  1,55,  depth  0,45. 

A similar  chest  with  other  arms  in  Rome.  Castle  of  St.  Angelo. 

No.  124.  Walnut-wood.  Height  0,62,  breadth  1,55,  depth  0,45. 

No.  125 — 129.  Walnut-wood.  Height  0,69,  breadth  1,86  (and 
1,85),  depth  0,62,  partly  gilded.  On  one  of  them  festival 
scenes  decorate  the  front,  the  sides  are  ornamented  with 
trophies  (No.  127)  on  the  other  in  front  Apollo  and  Diana 
killing  the  Niobides;  on  either  end  is  a boy  riding  on  a 
sea-bull  with  a triad  in  his  hand.  (Compare  here  No.  139.) 

No.  132.  Walnut-wood.  Height  0,75,  breadth  1,79,  depth  0,60. 
Cover  (height  0,1 1 5)  added  later.  The  front  decorated  with 
the  triumphal  procession  of  Poseidon.  (Schubring  No.  893, 
p.  418.) 

No.  134.  Fhe  design  for  this  or  a similar  chest  is  reproduced 
here  Fig.  29. 


No.  135.  Walnut-wood.  Height  0,78,  breadth  1,90,  depth  0,68. 

No.  137.  Walnut-wood,  partly  gilded.  (Schubring  No.  854,  p.  41 1 .) 

No.  138.  Walnut-wood,  partly  gilded.  Height  2 ft  3 in.,  breadth 
5 ft  7 in.,  depth  1 ft  10  in.  Arms  of  the  Delfini  family,  orna- 
mented with  the  fall  of  Phaeton  and  three  scenes  from  the 
Daphne-saga,  like  its  counterpart  in  the  Victoria  and  Albert 
Museum,  London,  bearing  the  Lancelotti  arms.  It  was  made 
on  the  occasion  of  the  marriage  of  Giulia  Delfini  to  Paolo 
Lancelotti  in  Rome  1570.  (Schubring  No.  866,  p.  413.) 
No.  4417-57. 

No.  139.  Walnut-wood.  Height  0,76,  breadth  1,78,  depth  0,59. 
The  representation  of  The  Death  of  the  Niobides  is  in  all 
probability  carved  after  the  same  design  as  No.  129  and  a 
chest  in  Schlofi  Glienicke  near  Berlin.  (Schubring  No.  858, 
p.  412.) 

No.  140.  Walnut-wood. 

No.  142— 144.  Small  wooden  boxes  ornamented  with  small 
pastiglia  reliefs  (compare  here  p.  XX)  No.  144  about  1450. 
Height  0,25,  breadth  0,40,  depth  0,27. 

No.  145.  Height  4 7/8  in.,  breadth  1 6 '/s > depth  6°/8in.  Cata- 
logued in  the  Victoria  and  Albert  Museum,  London,  as 
Siena,  14  th  century. 

No.  146.  Walnut-wood.  Height  0,35,  breadth  0,62,  depth  0,30. 

No.  147.  Walnut-wood,  inlaid  with  gay-coloured  marbles.  A 
similar  cassette  is  in  the  colletion  of  Herr  v.Dierksen,  Berlin, 
and  another  one  in  the  Palazzo  Vecchio,  Florence. 

No.  148.  Walnut-wood.  Height  0,33,  breadth  0,525,  depth 
0,345,  partly  gilded. 

No.  149.  Walnut-wood.  Height  0,33,  breadth  0,65,  depth  0,41, 
partly  gilded. 

No.  152.  Walnut-wood.  Height  2,10,  breadth  2,00. 

No.  153.  In  autumn  1523  negotiations  for  the  building  of  the 
library  of  San  Lorenzo  were  begun  with  Michelangelo.  On 
the  2 d of  August  1524  particulars  were  gone  into  regarding 
the  distance  of  the  benches  from  one  another,  and  the 
number  of  books  in  each  division.  On  April  3 d 1526  the 
Pope  decided  upon  walnut-wood  benches  which  were  to  be 
separated  into  two  rows  by  three  spaces.  On  the  17  th  of 
June  Michelangelo  hoped  to  have  completed  the  decorations 
in  four  months.  In  July  1533  fresh  negotiations  were  held. 
Probably  soon  afterwards  the  benches  were  left  to  Battista 
del  Cinque  and  Ciappino.  The  design  for  a bench  in  the 
Museo  Buonarotti  in  Florence.  (Thode,  Michelangelo.  Critical 
Researches  II,  Berlin  1908,  pp.  113  to  120  and  136.) 

No.  154,  155.  The  three  benches,  one  with  place  for  ten  and 
the  other  two  for  five  persons  each  in  the  Kaiser  Friedrich 
Museum,  Berlin,  were  since  the  Napoleonic  times  in  the 
Villa  Monastirlo,  in  the  Brianza.  There  they  were  discovered 
by  the  Florentine  art  dealer  Bardini,  who  succeeded  in 
putting  the  pieces  together.  For  this  reason  the  scats  arc 
firm  and  have  lower  fore-boards  and  the  consoles  which 
were  probably  above  have  been  used  as  arm  supports.  Two 
benches  of  like  origin  are  in  the  Musee  Andre,  Paris.  On 
the  book  not  reproduced  here,  is  the  inscription  of  St.  Bartho- 
lomew, in  capitals:  Hoc  est  de  Marchis  Pantaleonis  opus. 
Walnut-wood.  Height  1,98,  breadth  7,20,  3,74  and  3,70. 
(Schottmiiller,  Jahrbuch  XXXVI  (1915),  p.  175.) 

No.  156.  The  interior  decorations  of  Cosimi  Medici  s palace 
began  in  1444  were  completed  under  the  reign  of  his  son 
Piero  in  1459-1460.  Fhe  later  broadening  of  the  staircase 
necessitated  an  annex  (not  visible  on  the  illustration)  and 
removal  of  a part  of  the  seat  of  the  choir-stall,  which  came 
into  the  hands  of  art  dealers. 

No.  157.  The  intarsias  are  the  early  work  of  Baccio  d’ Agnolo; 
(between  1491  and  1496)  the  carving  is  done  from  the 
design  made  by  Vasari  and  renovated  75  years  later.  (Lim- 
burger,  Kiinstlerlexikon  II,  p.  358.) 


244 


No.  158—71.  See  Nos.  154-155. 

No.  172.  Height  2,70,  breadth  2,24,  depth  (above)  0,42.  Came 
from  a synagogue  in  Siena.  (Lessing  14,  plate  II,  and  Bode 
p.  24,  fig  86.) 

No.  173.  After  the  death  of  Giuliano  Medici  Duke  of  Nemours 
(1478  — 1516)  the  throne  came  into  the  possession  of  the 
Strozzi,  from  them  it  passed  as  dowry  to  Count  Nuti,  and 
in  1872  to  Prince  Demidoff  in  Florence  and  in  1880  to 
Count  Pio  Resse.  In  modern  times  it  was  renovated  and 
provided  with  intarsias.  Bode  p.  11  and  Erulei,  pp.  149 — 152. 

No.  176.  Walnut-wood.  Height  1,885,  breadth  1,77. 

No.  177.  Walnut-wood.  Height  1,12,  breadth  and  depth  in 
sitting  height  2,65  and  0,79. 

No.  178.  Walnut-wood.  Height  1,52,  breadth  and  depth  in 
sitting  height  3,63  and  0,485. 

No.  179.  Walnut-wood,  stained  brown.  Height  0,95,  breadth 
1,91,  depth  0,57  (depth  of  seat  0,36). 

No.  180.  Walnut-wood,  stained  dark  brown.  Height  1,02,  breadth 
1,54,  depth  0,50. 

No.  181.  Walnut-wood,  stained  dark  brown.  Height  1,12,  breadth 
and  depth  in  sitting  height  2,66  and  0,86. 

No.  183.  Walnut-wood,  stained  dark  brown.  Height  0,5  1 , breadth 
2,08,  depth  0,35. 

No.  184.  Walnut-wood,  stained  brown.  Height  0,99,  breadth 
and  depth  in  sitting  height  2,86  and  0,77. 

No.  185.  The  Strozzi  arms  ornament  the  feet. 

No.  187.  Formerly  in  Florence,  Collection  E.  Volpi. 

No.  189  & 191.  Walnut-wood,  stained  dark  red  brown.  Height 
1,07,  breadth  and  depth  in  sitting  height  6,82  and  0,95. 
Comes  from  Naples. 

No.  190.  Walnut-wood,  stained  dark  red  brown.  Height  0,99, 
breadth  2,33,  depth  0,47. 

No.  195.  A part  of  the  upper  half  of  a sacristy  cupboard 
(compare  Baccio  d’Agnolo,  here  ill.  fig.  157). 

No.  196  197.  Compare  pp.  XXI  and  XXII. 

No.  201.  Walnut-wood,  stained  dark  brown.  Height  0,95, 
breadth  3,37,  depth  0,78. 

No.  202.  Walnut-wood,  stained  dark  brown.  Height  0,95,  breadth 
3,75,  depth  0,78. 

No.  203.  Walnut-wood,  stained  dark  brown.  Height  1,06,  breadth 
1,87,  depth  0,54;  wooden  knobs. 

No.  204.  Walnut-wood,  stained  dark  brown.  Height  1,125, 
breadth  1,80,  depth  0,65.  Remains  of  gilding  in  the  rich 
carving.  Came  from  the  Palazzo  Martelli  in  Florence. 

No.  206.  Walnut-wood,  stained  b rown.  Height  0,88,  breadth 
1,32,  depth  0,45. 

No.  207.  Breadth  2,43. 

No.  2C9.  Walnut-wood,  stained  dark  brown.  Height  1 ,25,  breadth 
2,287,  depth  0,88.  May  be  from  the  workshops  of  Bal- 
dassare  Peruzzi. 

No.  210.  Walnut-wood,  stained  brown.  Height  0,90,  breadth 
0,94,  depth  0,39. 

No.  211.  Walnut-wood,  stained  brown.  Height  1,02,  breadth 
0,90,  depth  0,48. 

No.  212.  Walnut-wood,  stained  brown.  Height  0,90,  breadth 
0,88,  depth  0,44. 

No.  213.  Walnut-wood,  stained  dark  brown.  Height  1,33,  breadth 
0,705,  depth  0,675. 

No.  214.  Walnut-wood,  stained  brown.  Height  1,10,  breadth 
0,87,  depth  0,37. 

No.  218.  The  step-like  upper  part  (Gradino)  is  probably  to 
be  found  in  a variety  of  forms  on  many  side-boards. 

No.  219.  Walnut-wood,  stained  dark  brown.  Height  1,17,  breadth 
0,86,  depth  0,42. 

No.  220.  Walnut-wood,  stained  brown.  Height  1,19,  breadth 
1,14,  depth  0,57. 


No.  222.  Breadth  1,64. 

No.  223.  Walnut-wood,  stained  dark  red  brown.  Height  1,12, 
breadth  and  depth  of  the  plate  2,29  and  0,63. 

No.  224.  Walnut-wood,  stained  dark  red  brown.  Height  1,24, 
breadth  2,02,  depth  0,77. 

No.  225.  Breadth  1,80. 

No.  226.  Breadth  1,96,  depth  0,70. 

No.  229.  Walnu  t-wood.  Height  1,31,  breadth  2,28,  depth  0,85. 
No.  231.  Breadth  1,76. 

No.  233.  Breadth  1,73. 

No.  242.  Height  2,00. 

No.  244.  Walnut-wood.  Height  1,82,  breadth  1,33,  depth  0,62. 
No.  245.  Height  2,02,  breadth  1,88. 

No.  247.  Walnut-wood.  Height  1 7 ;J/4  in.,  breadth  4 ft  7 l/4  in. 
No.  248.  Walnut-wood.  Height  2 ft  10  '/„  in.,  breadth  2 ft 

3 '/„  in.,  depth  2 ft  1 inch. 

No.  249.  Walnut-wood.  Height  2,21,  breadth  1,18,  depth  0,41. 
Carving  partly  gilded,  in  the  separate  gables  are  the 
Alliance  arms  of  the  Piccolomini-Patrizi. 

No.  250.  Pine-wood.  Height  2 ft  1 in.,  breadth  18  ft  6 in. 

No.  251.  Height  1,08,  breadth  0,80,  depth  0,36. 

No.  252.  Height  2,27,  breadth  1,11. 

No.  254.  Walnut-wood.  Height  2,47,  breadth  1,14,  depth  0,46. 

(Bardini,  1902,  No.  582.) 

No.  256.  Height  1,77,  breadth  1,31,  depth  0,53. 

No.  257.  Walnut-wood.  Height  2,42,  breadth  1,70,  depth  0,62. 
(Bardini,  1902,  No.  580.) 

No.  259—261.  Walnut-wood.  Height  2 ft  8 in.,  breadth  4 ft 

4 3/4  in.,  depth  1 ft  5 '/„  in. 

No.  263.  Walnut-wood.  Height  1,67,  breadth  1,13,  depth  0,41. 
No.  264.  Walnut-wood.  Height  1,82,  breadth  1,42.  (Bardini, 
1902,  No.  574  ascribes  this  to  Bernardo  Tasso.) 

No.  265.  Walnut-wood.  Height  2,09,  breadth  1,40,  depth  0,62. 
(Bardini,  1902,  No.  581.) 

No.  267.  Walnut-wood.  Height  5 ft  6 in.,  breadth  3 ft  9 in., 
depth  1 ft  3 in. 

No.  268.  Walnut-wood.  Height  1,90,  breadth  1,23.  (Bardini, 
1902,  No.  575.) 

No.  269.  Walnut-wood,  stained  light  brown.  Height  0,30, 
breadth  1,74,  depth  0,24,  carving  gilded. 

No.  270.  Walnut,  stained  red  brown,  height  2,48,  breadth  2,04, 
depth  0,62.  Carving  and  profiles  partly  gilded. 

No.  271.  Grotesque  paintings  from  Sodoma’s  workshop.  The 
inscription  in  capitals:  Non  baccho  sed  gravido  mart... 
No.  273.  Painting  in  the  manner  of  Bernardo  Daddi.  (Schub- 
ring,  p.  228  and  No.  43.) 

No.  280.  Height  0,175,  breadth  0,19,  depth  0,12. 

No.  284.  Breadth  1,05. 

No.  285.  Breadth  0,66. 

No.  286.  Breadth  2,00. 

No.  287.  Breadth  2,77. 

No.  288.  Breadth  2,93. 

No.  291.  Walnut-wood.  Height  0.815,  breadth  1,67,  depth  0,69. 
No.  292.  Walnut-wood.  Height  0,81,  breadth  1,67,  depth  0,69. 
From  the  refectory  of  the  Franciscan  Monastery  in  Cori 
(Mitteilungen  des  Stiidt.  Kunstgewerbemuseums  in  Leipzig, 
April  2"ci  1912,  p.  16  and  L’Arte  1909,  p.  297.) 

No.  297.  Walnut-wood,  stained  brown.  Height  0,79,  breadth 
and  depth  of  the  plate  2,90  and  0,74. 

No.  298.  Walnut-wood,  stained  brown.  Height  0,98,  breadth 
and  depth  of  the  plate  4,79  and  1,11. 

No.  300.  Breadth  of  the  plate  3,42. 

No.  301  — 302.  Walnut-wood.  Height  0,88,  breadth  and  depth 
of  the  plate  3,04  and  1,13.  (Bardini,  1902,  Nos  609/10.) 


245 


No.  303  304.  Walnut-wood,  stained  dark  brown.  Height  0,865, 

length  and  breadth  of  the  plate  5,69  and  1,13.  A so-called 
Sansovini  style. 

No.  311.  Walnut-wood.  Height  0,84,  breadth  and  depth  of 
the  plate  1,26  and  0,73.  (Bardini,  1902,  No.  608.) 

No.  312.  From  the  Palazzo  Torrigiani,  Florence. 

No.  313.  Walnut,  stained  light  brown.  Height  0,925,  breadth 
and  depth  of  plate  1,50  and  0,88.  (Bardini,  1902,  No.  607.) 

No.  314.  Breadth  of  plate  2,95,  from  Palazzo  Palmier!,  Siena. 

No.  315.  Breadth  of  plate  3,25. 

No.  319.  Breadth  of  plate  0,90. 

No.  320.  Walnut-wood.  Height  0,91,  breadth  and  depth  of 
plate  2,67  and  0,94.  (Bardini,  1899,  No.  413.) 

No.  321.  Walnut-wood.  Height  0,83,  breadth  and  depth  of 
plate  3,00  and  1,07.  (Bardini,  1899,  No.  412.) 

No.  322.  Height  0,79,  breadth  and  depth  of  plate  2,63  and 
0,82. 

No.  337.  Walnut-wood,  stained  deep  brown.  Height  0,865, 
diameter  of  plate  1,15. 

No.  338.  Walnut-wood,  stained  deep  brown.  Height  0,905, 
diameter  of  plate  1,30. 

No.  339.  Walnut-wood,  stained  light  brown.  Height  0,87,  breadth 
and  depth  of  plate  1,06  and  0,47;  carved  and  profile  partly 
gilded. 

No.  340.  Walnut-wood,  stained  brown.  Height  0,78,  diameter 
of  plate  1,10. 

No.  343.  Walnut-wood,  stained  dark  brown.  Height  0,83, 
diameter  of  plate  1,11. 

No.  344.  Walnut-wood,  stained  dark  brown.  Height  0,78, 
diameter  of  plate  1,30. 

No.  347.  Walnut-wood.  Height  2 ft  9 */„  in.,  diameter  4 ft 

7 7*  in. 

No.  348.  Walnut-wood.  Height  0,81,  diameter  1,31.  (Stegmann 
pp.  158/9.) 

No.  352.  Walnut-wood.  Height  0,845,  diameter  of  plate  0,95. 
(Bardini,  1902,  No.  587.) 

No.  353.  Walnut-wood.  Height  0,93,  diameter  of  plate  0,83. 
(Bardini,  1902,  No.  585.) 

No.  354.  Walnut-wood,  stained  brown.  Height  0,87,  diameter 
of  plate  1,06. 

No.  355.  Walnut-wood,  stained  brown.  Height  0,89,  diameter 
of  plate  1,14. 

No.  356.  Walnut-wood,  stained  light  brown.  Height  0,84, 
diameter  of  plate  0,77. 

No.  357.  Walnut-wood,  stained  light  brown.  Height  0,85, 
diameter  of  plate  1,40. 

No.  361.  Height  1,34,  diameter  0,84,  parts  added. 

No.  362.  Diameter  1,89. 

No.  367.  Breadth  1,28. 

No.  371.  See  figs  208  and  296. 

No.  372.  Height  1,10  and  1,08,  breadth  0,65.  (Bode  p.  35, 
Stegmann  pp.  572 — 573.) 

No.  375.  Walnut-wood.  Height  1,05,  breadth  and  depth  sitting 
height  0,305  and  0,435.  Beautiful  bone  intarsias.  (Becke- 
rath  No.  228.) 

No.  376.  Walnut-wood.  Height  1,04,  breadth  0,32,  depth  0,42. 

No.  377.  Walnut-wood.  Height  1,02.  (Bardini,  1902,  No.  591.) 

No.  378.  Height  1,49,  breadth  0,28. 

No.  380  & 382.  Height  1,56,  breadth  0,42.  From  Palazzo 
Strozzi,  Florence.  (Stegmann  pp.  576  and  577.) 

No.  384.  Both  chairs  walnut-wood.  Height  3 ft  4 '/.,  in.,  breadth 
15  in.  The  one  on  the  left  partly  gilded. 

No.  385.  Walnut-wood,  stained  dark  red  brown.  Height  1,04, 
breadth  and  depth  in  sitting  height  0,32  and  0,42. 


No.  387.  An  almost  exact  counterpart  is  in  the  Victoria  and 
Albert  Museum. 

No.  388.  Walnut-wood.  Height  0,88,  1,10  and  1,06.  (Bardini, 
1902,  Nos  588-590.) 

No.  395.  Height  0,98,  breadth  0,64. 

No.  405.  Height  0,75,  breadth  0,65. 

No.  409.  Height  0,69,  breadth  0,45,  depth  0,34. 

No.  412  — 413.  Height  1,04,  breadth  0,50  and  height  1,01, 
breadth  0,47. 

No.  432.  Walnut-wood,  stained  dark  brown.  Height  1,27, 

breadth  and  depth  of  the  seat  0,61  and  0,42. 

No.  433.  Walnut-wood,  stained  light  brown.  Height  1,25, 
breadth  and  depth  of  seat  0,62  and  0,45. 

No.  434.  Walnut-wood.  Height  1,22,  breadth  and  depth  sitting 
height  0,59  and  0,43. 

No.  435.  Walnut-wood,  stained  dark  brown.  Height  1,24, 

breadth  and  depth  of  seat  0,64  and  0,55.  1 he  pressed 

leather  bears  the  arms  of  the  Fassati  di  Casale. 

No.  441.  Walnut-wood,  stained  dark  brown.  Height  1,23, 

breadth  and  depth  sitting  height  0,62  and  0,50. 

No.  442.  Height  1,29,  breadth  0,64.  The  leather  mountings 
on  the  back  are  17  th  century  German.  (Stegmann  p.  587.) 

No.  443.  Height  1,13,  breadth  0,45. 

No.  444.  Height  1.33,  breadth  0,59. 

No.  448.  Faldistorium  (compare  this  with  p.  XXVII  r.).  Walnut- 
wood.  Height  0,74,  breadth  0,73,  partly  gilded.  (Stegmann 
pp.  571  and  582/3.) 

No.  449.  Height  0,59,  breadth  0,64. 

No.  456.  Ligurian  or  more  probably  French.  Height  1,70, 
breadth  0,81,  depth  0,52. 

No.  457.  (Compare  this  with  pp.  XV  and  XVI.) 

No.  458.  Stained  light  colour.  Height  1,77,  breadth  0,56, 
depth  0,46. 

No.  459.  Reading-desk.  Height  1,55,  stool,  height  1,03. 

No.  460.  Walnut-wood.  Height  1,90.  Partly  gilded.  Below  arms 
of  the  Gianfigliazzi,  Florence.  Desk  ornamented  with  in- 
tarsias done  in  capitals,  Asperamontis  mirandule  fecit. 

(Bardini,  1902,  No.  586.) 

No.  461.  Walnut-wood.  Height  1,26,  breadth  and  depth  above 
0,335  and  0,32,  depth  below  0,51.  Partly  gilded. 

No.  462.  Walnut-wood,  stained  light  brown.  Height  1,40, 
breadth  0,50.  Partly  gilded. 

No.  463.  Height  1,14,  breadth  and  depth  above  0,395,  below 
0,50  and  0,47. 

No.  464.  Walnut-wood,  stained  brown.  Height  1,29,  breadth 
and  depth  above  0,275,  below  0,37. 

No.  465.  Walnut-wood,  stained  light  brown.  Height  1,43, 
breadth  0,45,  depth  0,39. 

No.  466.  Height  1,32,  breadth  and  depth  above  0,29  and  0,24, 
breadth  below  0,34.  Gilded. 

No.  467.  Height  0,79.  Gilded. 

No.  469.  Walnut-wood.  Height  0,89. 

No.  470.  Height  5 ft  5 '/2  in.,  breadth  and  depth  of  the  socle 
15  in.  Gilded. 

No.  472.  Left:  Walnut-wood,  stained  brown.  Height  0,43, 
breadth  0,72,  depth  0,41,  partly  gilded.  Right:  gilded. 
Height  0,47,  breadth  0,62,  depth  0,37. 

No.  473.  Stained  dark  brown  and  partly  gilded. 

No.  474.  Height  0,185,  breadth  0,33,  depth  0,15.  Gilded  and 
painted  like  dark  marble. 

No.  475.  Height  0,185,  breadth  0,33,  depth  0,15.  Gilded. 

No.  479.  Left:  Height  1,28.  Partly  gilded  (compare  this  with 
No.  461).  Centre:  Walnut-wood.  Height  1,27.  Right:  Walnut- 
wood.  Height  1,30  (Bardini,  1902,  Nos  596,  597  and  599.) 

No.  481.  Height  0,85,  breadth  0,68.  (Beckerath  No.  1048.) 


246 


No.  482.  Walnut-wood.  Height  2 ft  7 in. 

No.  485.  Walnut-wood.  Height  22  in. 

No.  486.  Walnut-wood.  Diameter  1 ft  7 in.  Partly  gilded. 

No.  487.  Walnut-wood.  Height  2 ft  9 in.,  breadth  2 ft  4 ’ in. 

No.  488  Walnut-wood.  Height  0,31,  breadth  1,33.  Partly  gilded. 

No.  489.  The  gilded  frame  (diameter  1,18)  was  intended  for 
the  picture  propably  designed  by  Michelangelo  on  the 
occasion  of  the  marriage  of  Angelo  Doni  to  Maddalena 
Strozzi  (1503  or  the  beginning  of  1504).  (Thode,  Michelangelo, 
Critical  Investigations,  I.  p.  118.) 

No.  490.  Height  0,60,  breadth  0,325.  Gilded. 

No.  492.  Height  0,98,  breadth  0,645.  Gilded. 

No.  493. Walnut-wood,  stained  brown.  Height  0,47,  breadth  0,38. 

No.  494.  Height  0,91,  breadth  0,51.  Gilded  carving  partly  on 
a blue  ground.  (Beckerath  320.) 

No.  495.  Height  0,625,  breadth  0,48.  Gilded. 

No.  496.  Height  0,73,  breadth  0,385.  Ground  blue,  carving 
painted  white  or  gilded. 

No.  497.  Walnut-wood,  stained  brown.  Height  0,52,  breadth 
0,41.  Partly  gilded. 

No.  498.  Walnut.  Height  0,91,  breadth  0,58.  Partly  gilded. 

No.  499.  Height  2,62,  breadth  1,30.  Carving  gilded.  Arms 
of  the  Ruccelai. 

No.  501.  Looking-glass  Frame.  Height  0,312,  breadth  0,142. 

No.  506.  Walnut-wood,  stained  brown.  Height  0,56,  breadth 
0,425. 

No.  507.  Height  0,92,  breadth  0,71.  Gilded  and  painted  blue. 

No.  508.  Height  0,385,  breadth  0,33.  Carving  gilded. 

No.  509.  Height  0,61,  breadth  0,535.  Painted. 

No.  511.  Height  0,76,  breadth  0,37. 

No.  512.  Height  0,94,  breadth  0,69. 

No.  513.  Height  1,71,  breadth  1,53.  Gilded. 

No.  515.  Walnut-wood.  Height  2,63,  breadth  of  each  wing 
0,655.  From  the  Badia  Fiesolana.  (Schottmiiller,  Amtl.  Be- 
richte,  XXXIX,  1918,  pp.  80  and  seq.) 

No.  516.  (Geymiiller,  Vol  4,  p.  1 seq.) 

No.  523.  Height  2,90,  breadth  1,49. 

No.  526.  Walnut-wood,  with  inlays  of  yellow  pine.  Height 
1,90,  breadth  0,87. 

No.  527.  Walnut-wood. 

No.  528.  Frieze  over  the  door,  (Central  Italy  about  1475)  grey 
limestone.  Height  0,19,  breadth  1,66.  Door-wing  walnut- 
wood,  height  2,25,  breadth  1,10. 

No.  530  531.  Grey  limestone.  Height  4,10,  breadth  2,43. 

No.  532.  Pietra  di  Lavagno  (grey  limestone).  Height  3,95, 
breadth  2,04. 

No.  533.  Pietra  serena.  Height  5,18,  breadth  3,18. 

No.  534.  Pietra  d’Istria  (limestone)  and  black  grained  marble. 
Height  5,14,  breadth  4,04. 


No.  535.  Reddish,  black  and  yellow-grey  Veronese  limestone. 
Height  4,75,  breadth  2,58. 

No.  536.  White  and  bright-veined  marble.  Height  2,84,  breadth 
1,48.  Arms  of  the  Trevisani  (Bode-Tschudi , Beschreibung 
d.  Bildw.  d.  chr.  Epochen,  No.  238). 

No.  537.  Limestone  and  white  and  black  marble.  Height  3,50, 
breadth  1,83,  depth  0,64. 

No.  540.  Pietra  serena  (greenish  sandstone).  Height  2,48, 
breadth  9,50.  Chimney  piece  decorated  with  the  Prometheus 
legend,  and  firedogs  17  th  century. 

No.  541.  Istrian  limestone.  Height  2,30,  breadth  of  the  central 
part  2,93.  Mantelpiece  does  not  belong  to  it.  Venice,  Palazzo 
Foscari. 

No.  542.  Pietra  serena.  Height  8 ft  6 in.,  breadth  12  ft. 

No.  545.  Pietra  serena.  The  palazzo  Gondi  was  built  in 
1490  1494  by  Giuliano  da  Sangallo. 

No.  546.  Originally  in  the  house  of  Pier  Francesco  Borgherini 
in  Florence. 

No.  552  554.  Gubbio’s  palace  was  built  by  Luciano  del  Lau- 

rana  from  1474  — 1482. 

No.  555.  Limestone.  Height  0,574,  breadth  2,895. 

No.  556.  Limestone.  Height  0,85,  breadth  0,48. 

No.  557.  Pietra  serena.  Height  0,43,  breadth  0,29.  Gilded 
discs  on  a blue  ground. 

No.  558.  Marble.  Height  0,635,  breadth  0,44. 

No.  559.  Urbino  limestone.  Height  0,27,  breadth  0,82. 

No.  560.  Marble.  Height  0,56,  breadth  0,52. 

No.  561.  Wood.  Height  0,45,  breadth  0,84. 

No.  562.  Sandstone.  Diameter  0,79. 

No.  563.  Pietra  serena.  Height  0,423,  breadth  0,325. 

No.  564.  Limestone.  Height  0,78,  breadth  0,62. 

No.  565.  Urbino  limestone.  Height  1,145,  diameter  above  0,30. 

No.  566.  Urbino  limestone.  Height  0,75,  breadth  0,265. 

No.  567.  Istrian  limestone.  Height  0,96,  breadth  below  0,30. 

No.  568  — 569.  Embroidered  on  silk  in  gold  threads.  (Bardini, 
1899,  Nos  231  and  234.) 

No.  570.  Red  satin  braided  with  gold  threads.  Height  0,36, 
breadth  0,47.  (Beckerath  No.  860.) 

No.  571.  Braided  in  gold  threads  sewn  on  with  silk.  (Bardini, 
1899,  No.  237.) 

No.  577.  Red  velvet  with  patterned  white  satin. 

No.  578.  Dark  red  damask  satin. 

No.  579.  Blue-violet  velvet  patterned. 

No.  581.  Velvet.  Pattern  silver  and  gold  on  a red  ground. 

No.  582.  Velvet.  Foundation  gold.  Pattern  red  with  gold. 
(Kumsch,  Stoffmuster,  Plate  151.) 

No.  583.  Velvet.  Stamped  with  pomegranates. 

No.  584.  Velvet.  Ground  gold.  Pattern  worked  in  red  and 
silver. 

No.  589.  Bronze.  Height  0,15,  breadth  0,31. 


Printed  in  Germany 


6 16  8 4 _\ 


. 


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